Anderegg particularly criticizes the bold claims made by the restorers at the time of the film's 1992 release, including Beatrice Welles's statements "This is a film that no one has seen", that it was a "lost film", and that it was "never given a theatrical release" (all of which are untrue), and he dismisses as hyperbolic the judgment of film restorer Michael Dawson that Welles's original dubbing was like "Japanese sci-fi." Instead, Anderegg argues that Othello was simply seldom screened.  Jonathan Rosenbaum has defended the out-of-sync dubbing of some lines in Welles's original version, pointing out it was typical of European films of the early 1950s, and likening modern attempts to resynchronise it to the proposed colorisation of Citizen Kane .  This digital version premiered in Dallas at the 2014 USA Film Festival ,  and subsequently played in other cities on the art-house circuit.     The New Yorker reported that the monaural soundtrack was a great improvement on the previous version of the restoration — "much more appropriate for a low-budget, black-and-white 1952 release." 
This is perhaps one of Shakespeare's more interesting plays, if you will. In comparison to Macbeth it isn't quite the walk in the park.
I think conceptually it enables the reader to see that characters can influence characters to such a degree that the original traits are masked and changed. Tragedy in this play is definitely a main component - and a great emphasis that perhaps the villain doesn't always find their true defeat. In a way, wasn't the "villain" successful? He lied to everyone and pretty much killed whomever got in his way.
More than a retelling, this aptly termed "reconceptualization" provocatively modernizes Shakespeare's play. As in the original, the middle-aged general Othello the ``moor'' and young European noblewoman Desdemona fall in love and marry secretly. But Lester (To Be a Slave; John Henry) transplants the action from Venice and Cyprus to Elizabethan England and turns Iago and Emily into Africans like Othello, so that the three of them share a distinctly non-European point of view. Iago's envy of Othello and ability to whip him into a jealous rage at Desdemona are thus cast in a new light, though the tragic outcome remains the same. While the ending feels abrupt, Lester's novel succeeds in holding up a mirror to contemporary society. Phrases and passages directly based on Shakespeare's language are printed in a different typeface, a device that may distract the reader but eases comparisons with the original work.