THE MERCHANT OF VENICE

UK, 2004, 130 minutes, Colour.
Al Pacino, Jeremy Irons, Joseph Fiennes, Lyn Collins, Kris Marshall, Mackenzie Crook.
Directed by Michael Radford.

The Merchant of Venice is one of Shakespeare’s most popular plays both for performance in theatre as well as for study at school and university. It is surprising that it has not been filmed before except for television versions of theatrical productions.

The play has been adapted by its director, Michael Radford. Radford has a range of credits including the 1984 version of Orwell’s 1984, White Mischief and the Italian tribute to Pablo Neruda and his postman, Il Postino. The text has been pruned but the essentials are there. The film has also been opened out and uses many actual Venetian locations to enhance the action, the beauty, the historical sense of the film. In fact, most of the sequences look like the paintings of Titian or Tintoretto come to life.

The film also has the advantage of an unspoken prologue which dramatises the attitude of Christians towards Jews in Venice in the late 16th century. It takes its cue from many of the indications given in the text, especially in Shylock’s speeches. The film vividly shows the merchants, the Rialto, their despising of the Jews, spitting on them, Antonio spitting on Shylock. It also has sequences in the synagogue with the Jews, especially Shylock, at prayer. An explanation is given about the attitudes towards the Jews at the time, the forbidding of the Jews to own any property and hence their having to depend on money-lending and usury.

The acting also carries the film well. Al Pacino, rather more quiet than some of his more strident performances, embodies Shylock. Some of his speeches, while passionate, tend in some moments towards the low-key, which is very effective. This is true of his famous speech, “If you prick us, do we not bleed…” as well as his speeches at the trial.

Jeremy Irons, of course, seems born to be the perennial martyr and brings great dignity and solemnity to the role of Antonio. The film acknowledges some of the speculation about the relationship between Antonio and Bassanio but highlights the fact that older men in Venetian society took on proteges and supported them rather than the indications of any kind of homosexual relationship. These clues are indicated in the film. Joseph Fiennes is very good as Bassanio but the surprise of the film is the American actress Lynn Collins who is a most persuasive Portia. Once again, the “quality of mercy” speech is played somewhat low-key.

The sequences of the caskets are well done, the genial arrogance of the Duke of Morocco, the foolishness of the Prince of Aragon and the romance of Bassanio.

The film is Shakespeare particularly well spoken, articulate, poetic – with strong performances and visuals to match.

1.The 20th century tradition of Shakespearian films, straightforward, the Baz Luhrman style? This film in that tradition?

2.The respect for the text, fidelity, the quality of the spoken poetry? The pruning of the text?

3.The opening out of the play, the opening in Venice, the scenes in Belmont? The buildings and the canals of Venice? The musical score, the period atmosphere, the songs?

4.The style of the film as the paintings in Venice of the 16th century, Titian and Tintoretto? The paintings coming alive? The lighting, the colour, the design, the framing of the scenes, the costumes and décor?

5.The prologue and the explanation of anti-Semitism in Venice? The place of the Jews, the ghetto, not having property, usury, segregated in the ghetto at night? Wearing red caps when going out? The portrait of persecution? The attitude of the Christians, the friars in the gondola and their preaching against usury? The spitting on the Jews, even Antonio? The visualising of the persecution? The contrast with the Jews in the synagogue, the prayer? Shylock presented in this context?

6.Usury in Venice, its being forbidden by the church, the merchants turning a blind eye? The drinking, the sexuality, the courtesans on the canals? The moral atmosphere of Venice?

7.The focus on Shylock, the classic part in Shakespeare, at work, at prayer, Tubal and his friends? His dead wife, turning in on himself, his alienation of Jessica, her attitude towards him? Launcelot Gobbo and his wanting to leave his service, his comments to Gobbo? His being approached by Antonio and Bassanio, the decision to lend, his being at the butcher, the pound of meat in his hand, the idea for the bond, his motivation, saying it was a jest, going to the notary? His having to go out to the meal, his not wanting to go, Jessica and the opportunity to leave her home? The storm, his return home, discovering his daughter gone, “My daughter and my ducats”? Antonio failing with the bond, Shylock going to the courts and making his demand? His appeal to humanity – the “do we not bleed” speech? Going to the court, taking his scales, sharpening the knife, his speech to the court, Portia’s judgment and his declaring her a Daniel? The hesitation about the blood, the exact pound of flesh? Shylock being beaten, cowed, forced to be a convert? His saying he was content? The final glimpse of him, the door shutting on him? The stereotype of Jewish characters, appearance, manner of speaking, rhythmic lilt in the voice, the preoccupation with money?

8.Antonio, melancholic, one of the merchants, with his friends, thinking about his ships, his wealth but it all depending on the success of the fleet? His friendship with Bassanio, long time, like father and son, a kind of homoerotic love, companionship, Bassanio as protégé? Bassanio’s request, his accepting it, approaching Shylock, urging him to lend as to an enemy? The losses of the ships and the reports coming in? His going to court, his stoic attitude, glad that Bassanio had come, getting ready, tied down, baring his chest? Shylock and the approach? His being saved? His gratitude towards the doctor, to Bassanio, urging Bassanio to give the ring to the lawyer? The final joy?

9.Bassanio, his lifestyle, extravagant, spoilt, money and debts? Gratiano and company as his friends? His falling in love with Portia, her favouring him? Going to Antonio, relying on Antonio saying yes, the request, the extent? Getting the money, buying gifts for Portia? Launcelot Gobbo and his father coming to ask for service? Going to Belmont, his impatience to try the casket, his reasons for not taking gold and silver, choosing lead, finding Portia’s portrait? In love? Graziano and Nerissa wanting to marry? The ceremony, the joy, the feast? The news of Antonio’s arrest, hurrying to Venice, the promise about the rings?

10.The device of the caskets, the Prince of Morocco, his pride, his entourage, genial, the reasons for his choice, his being humiliated? The Duke of Aragon, the fop, his mother and his entourage, his reasons for choosing silver, his being humiliated?

11.The effect of the court sequence, the duke and the leaders of Venice, Antonio and his not defending himself, Shylock and his attack, his Jewish friends being present? The arrival of the doctor, her speech, seeming to favour Shylock, the letter of the law, no blood, no extra or less weight? Her getting him to sign his money to Jessica and Lorenzo? The fine by the court? Antonio and his waiving his rights? The importance of justice and mercy, the lead-up to the “quality of mercy” speech, Portia’s delivery of it and its meaning?

12.Gratiano and Nerissa, mirroring master and mistress, their support of master and mistress, Gratiano as being outspoken, playful, a brat? Nerissa making mischief? Nerissa and her disguise and deceiving Gratiano?

13.Launcelot Gobbo, in the service of Shylock, the humour, with his father, going in service to Bassanio?

14.Venice, its life, the merchants, a prosperous city, justice?

15.The finale with the unmasking of Portia and Nerissa, the testing on the rings, Bassanio and Gratiano depressed? The overall joy?

16.The themes of justice, mercy? Anti-Semitism?, Jewish stereotypes? The role of the church, Christianity? i_up/merchant-of-venice.jpg" }