Pauline Kael's Problematic Problem and How to Talk About Old Ideas

“Jeff and Sasha talk about Pauline Kael’s “problematic comments” on Othello, whether actors must be gay to play gay roles, and how would Carnal Knowledge play today?”The Pauline Kael passage in question:Olivier is the most physical Othello imaginable. As a lord, this Othello is a little vulgar—too ingratiating, a boaster, an arrogant man. Reduced to barbarism, he shows us a maimed African prince inside the warrior-hero, Iago’s irrationality has stripped him bare to a different kind of beauty. We are sorry to see it, and we are not sorry, either. To our eyes, the African prince is more beautiful in his isolation than the fancy courtier in his reflected white glory.Part of the pleasure of the performance is, of course, the sheer feat of Olivier’s transforming himself into a Negro; yet it is not wasted effort, not mere exhibitionism or actor’s vanity, for what Negro actor at this stage in the world’s history could dare bring to the role the effrontery that Olivier does, and which Negro actor could give it this reading? I saw Paul Robeson and he was not black as Olivier is; Finlay can hate Olivier in a way Jose Ferrer did not dare—indeed did not have the provocation—to hate Robeson. Possibly Negro actors need to sharpen themselves on white roles before they can play a Negro. It is not enough to be: for great drama, it is the awareness that is everything.Full review This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit heplus.substack.com/subscribe