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William Shakespeare's The Merchant of Venice
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Features
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In Theaters : 2004
DVD Release : 10 May, 2005
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William Shakespeare's The Merchant of Venice description
Rarely has The Merchant of Venice, one of Shakespeare's most complex plays, looked as ravishingly sumptuous as in this adaptation, directed by Michael Radford (Il Postino). In a decadent version of renaissance Venice, a young nobleman named Bassanio (Joseph Fiennes, Shakespeare in Love) seeks to woo the lovely Portia (newcomer Lynn Collins), but lacks the money to travel to her estate. He seeks support from his friend, the merchant Antonio (Jeremy Irons, Reversal of Fortune); Antonio's fortune is tied up in sea ventures, so the merchant offers to borrow money from a Jewish moneylender, Shylock (Al Pacino, Dog Day Afternoon). But Shylock holds a grudge against Antonio, who has routinely treated the Jew with contempt, and demands that if the debt is not repaid in three months, the price will be a pound of Antonio's flesh.

The Merchant of Venice is famous as a "problem play"--the gritty matters of moneylending and anti-Semitism sit uncomfortably beside the fairy tale elements of Portia and Bassanio's romance, and some twists of the plot can seem arbitrary or even cruel. The strength of Radford's intelligent and passionate interpretation is that he and the excellent cast invest the play's opposing facets with full emotional weight, thus making every question the play raises acute and inescapable. Irons is particularly compelling; kindness and blind prejudice sit side by side in his breast, rendering the clashes in his character as vivid as those in the play itself. --Bret Fetzer

William Shakespeare's The Merchant of Venice Customer Reviews
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♥♥♥♥ Romance and suspense; prejudice and revenge
It must be remembered when viewing this film that it is a contemporary re-interpretation of the original play by William Shakespeare. It is a reinvention. Therefore some reviewers selected to review it by comparison to the original Shakespeare. In summary, this is not the original. It has been edited and emphasis has been shifted. It appears that considerable editing of a relatively long play was done, some of which modified the full impact of the characters of Shylock, Antonio and Portia. In addition to the editing for modern audience's attention span, a shift in emphasis was made to address concerns that the play was anti-Semitic and that a more favorable light needed to be cast upon Shylock.

Therefore, I am here reviewing this particular film, a reinterpretation of Shakespeare's play, as an independent product divorced from the original play. When cut lose from the original script, we begin to see that the play has the difficult balance of covering a suspenseful story of revenge which runs parallel to a comedy of romance, yet using the same actors in both parallel storylines. How does it resolve this parallel structure? It does it by giving both storylines incredible rich attention to exquisite detail, rich costume, elegant lighting, and superb acting. Pacino, Irons, and Lynn Collins are all in top form.

I found the film to be a feast for the eye and ear. As always I found Pacino to be a powerful force on the screen. However Lynn Collins is a new star in the firmament. In the current interpretation, Shylock is both victim and perpetrator and yet his downfall is keenly felt and his final stare into the camera is accusatorial, conveying to the viewer the message that justice has not been done.
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