I hate the Moor...

[Tony]

Alan mentions #5 and 6: but i thought the New Jersey (warehouse?) print WAS the 1992 Beatrice release. Am I confused? :p

And also Alan: Francois told me that the Cannes version doesn't exist anymore, and only existed for the showing; then it was changed. Perhaps I misunderstood him?

[alan smithee]

Yes, Store, that close-up definitely was in the 52 first edition. And according to Thomas, is exactly the NJ variant that replaces Desdemona closeup whit a larger shot. In front of the original 55 print, the NJ print shows also "four additional shots or fragments of shots, a dozen of small dialogue corrections... and the complete reorganization of dialogue in the scene where Cassio asks Bianca to embroider the handkerchief... That version ... demonstrates a provisional state in Welles work". I forgot to say in my previous post that probably the print number 3) in my list seems to be the one left by welles in a london development lab and acquired by British Film Institute as reference print (once again, we owe that information to Thomas).

[alan smithee]

Forget, Tony, probably is my english so confused. Yes, the NJ print is the Beatrice print, but of course without the heavy modifications by the restorers. So the 1992 release is, to me, completely a new edition. Until 20-25 years ago, a master tv copy, in english and with the '52 editing and sountrack, was regularly showed on french network Antenne2. Sincerly, I don't know if the source was the Cannes print or a (slightly) further changed copy (maybe for teathrical release).

[alan smithee]

>>>Francois told me that the Cannes version doesn't exist anymore, and only existed for the showing; then it was changed. Perhaps I misunderstood him?

Tony, i'm not so expert as wellesian researcher. Probably he refers to the fact that the copy showed at Cannes was a sort of positive duplicate, or a working copy not in optimal condition; then we can (or must) presume further (little?) changes in the following european theatrical release.
I think the point isn't how much copies of Othello - quite or little unlike each others - are phisically in existence but how much distinct or peculiar editions of the same film are referable to the intention of Welles or exist as consequence of substantial interventions of others.
Anyway, if you have the occasion, please tell to Thomas that we passionate wellesians here in Italy appreciate very much his work (i'm starting now to read his book with J.P. Berthomé "Orson Welles au travail"). And thank to you and all the others for give life to this magnificent board.