Python Hyena
The Merchant of Venice (2004): Dir: Michael Radford / Cast: Al Pacino, Jeremy Irons, Joseph Fiennes, Lynn Collins, Zuleikha Robinson: Powerful William Shakespeare adaptation about conquest that ultimately leads to self damnation. Jews are persecuted while Christianity dominates but Shylock agrees to lend Antonio money but through a sealed bond, which could result in a pound of his flesh if the bond is broken. His young friend Bassanio has fallen in love with Portia, which leads to Antonio's assistance through the bond. Perhaps the one argument that could be made is that of the forced religious views dealt out during crucial moments otherwise director Michael Radford establishes the look and time frame that are crucial to the viewpoint. As Shylock Pacino has suffered many losses but his anger afflicts him with his biggest loss. Jeremy Irons displays passion and love for Bassanio but reluctantly accepts consequences. Joseph Fiennes is well cast as Bassanio while Lynn Collins steals scenes as the resourceful Portia whose wit comes through during a clever cross exam. Other roles are not so broad and mainly seen as appearances exclusively. Here is one of the better Shakespeare adaptations produced that presents strong images of human excel. It also presents a strong theme regarding the downfall of revenge and how hate can ultimately destroy us. Score: 8 ½ / 10
Marcy Murli
The film is an excellent rendition of Shakespeare's play. The acting is impeccable. There is one serious problem, however: the filmmakers clearly want this film to be used in classrooms, which is obvious given the teacher materials they included on their website. If this is the case, then why on earth would they add so much gratuitous female nudity throughout the film? There are several scenes where there are prostitutes and random women walking down the street whose gowns only reach below their breasts so their nipples and breasts are showing. This is extremely problematic for a film that could otherwise be immensely useful in a classroom.
jwv-823-79715
This is a great popularized and verbally simplified version of Shakespeare for a wide audience with a top-notch cast. Especially Al Pacino's performance is genuinely moving, in his assuming the role of an embittered and torn old man, with superior feel for emotional shift and outstanding voice-acting. Lynn Collins also convinces with a good performance. The soundtrack is likable, light and strangely enchanting, and the scenery is beautiful.The movie does a great job of complicating the character of Shylock, and makes the viewer question his role as a victim or a villain. In the end, nobody will feel unmoved by the truly excellent and genuinely poignant court scene.The courting prices are shallow stereotypes and constitute the only kind of (unintentional) humour this otherwise dry movie brings. I do not understand the choice of not giving the play-appropriated importance and weight in consequence to the casket-scenes. This is strange, since the movie is clearly a dramatized version of the play, and else there is not much that distinguishes Portia from a common harlot when every man can come make his suit without consequence. It saddens me to see the superficiality of these scenes, because Shakespeare did provide more complex and sympathetic characters in the original.
TheLittleSongbird
I was both excited and intrepid about seeing Merchant of Venice, excited because of the cast and intrepid because I worried the film wouldn't leave the cast much to work with. But I was surprised, apart from being overlong with a few scenes that looked as though they could've done with an edit I found The Merchant of Venice to be a very good film. It looks exquisite, the scenery and costumes as well the cinematography are some of the loveliest and sometimes even most ominous of any film I've seen recently. The soundtrack is just as beautiful, the story is just as compelling as the play with the courtroom scene and ring scene quite interestingly done and the writing is nuanced, intense and full of humanity considering the difficulty of adapting the play. Al Pacino is both angry and dignified of some of the best work of his of the past 15 or so years. Jeremy Irons also impresses in a suitably loyal, melancholic and in some way hypocritical(in regard to his religious bigotry) Antonio, while Lynn Collins is luminous as Portia and Joseph Fiennes proves here he is more than a handsome figure. Michael Radford directs with efficiency and sympathy also. In a nutshell, a very good movie, not my favourite Shakespeare-adapted film but worthy. 8/10 Bethany Cox
AD
