The Merchant of Venice Film - Essay Example

The Merchant of Venice (2004 Film) The film adaptation, of the famous The Merchant of Venice (2004) starring Al Pacino, as the Shylock, and Jeremy Irons as Antonio, is directed by Michael Radford and produced by Daniel Sullivan. Of major influence is the fact that prior this year, there had never been a full-length feature film version of the play. This is despite the fact that the play is the most frequently staged, after Hamlet. Preceding this film, were nine other versions, but without sound; dating to the early 20th century France. As Shylock, he is a money lender, who is sorrowful and full of anger. This is as a result of his recent losses, where his daughter, elopes with the valuables in question; in both cash and jewelry. Of importance is the fact that he is unable to figure out which of the two is of more concern; his daughter’s disappearance, or his loss of the small fortune. As an adaptation of the 1565 play, it is unique in terms of its Venetian setting; providing a contextual environment of deep irritation, coupled with intelligence. Pertinently so, it portrays Shylock, neither as the victim nor the villain; but as the very symbolic representation of the ‘money-driven society he both serves despises. Portia, as a resourceful heiress, is able to thwart his different schemes of violent vengeance, principled of the ideal of clear perspective. Accordingly I am of the view that the piece is a romantic-comedy piece, with varying measures of drama and tragedy (The Merchant of Venice 2004). With its setting being Venetian in context, there is a differentiation of the Jewish community, from that of the Christian majority. Thus, the environment portrayed is that of the late Renaissance era; of specific focus being the Edwardian period representation. The film takes maximum advantage, of both the natural light, and the extant locations in Venice; thereby creating a vivid representation of authenticity. This is augmented by the time-worn, dark costume design that symbolically fit into the Venetian contexts of the time; represented by the Orthodox garb of the Jews. There is a contrast between the beautiful and remote castle of Portia and Shylock’s place in the dank, foggy and grimy city’s segregated ghetto (34). As the play begins, there is a ticker-tape machinery, which is spotlighted sitting commandingly at the center-stage. This is right across, from the manual exchange board present. The space is both segmented and defined, by way of utilizing black rotating fences that are tall and semi-circular. This is how the play is able to produce representations of amongst others: - fortresses of privilege, prison walls, and walls separating those considered insiders, from the majority outsiders (40). The wordless prologue, aptly portrays the tense interaction, between the Jews (as a persecuted minority), and the elite who control the Venetian society in terms of socio-economic and political contexts. The pastoral idyllic space of Portia’s Belmont estate is contrasted, to the urban, drab and grimy scenes. In addition, is the contrasting nature of the city’s sea-side, at times beautiful and calm, while in others, dark and raging (Mulr 44). The aforementioned wordless prologue, does aptly portray the existing tense interaction, between the Jews (as a persecuted minority), and the elite of the city. As Shylock, Al Pacino portrays a good icy humor, despite the reactions of a majority of his customers; who thinly disguise their disgust of him, as well as other Jews, despite their soliciting of loans from him. In another scene, as Bassanio ponders on the best choice to make, in an attempt to win over the lovely Portia; he must correctly choose between three existing caskets: - of gold, silver and lead. It is while pondering on this that members of Portia’s household prompt him through a song. “Fancy (unlike true love) is engendered in the eyes, with gazing fed…” provides the que for Bassanio to disregard both outward ornamentation and shows; instead choosing the aptly inscribed lead casket – “who chooseth me shall get as much as he deserves...” Antonio, having taken a loan from Shylock, so as to enable Bassanio woe Portia, is unable to repay on time, necessitating Shylock’s insistence on his ‘pound of flesh.’ In the court of Venice’s Duke, Portia is disguised as a visiting doctor of the law, aiming at aiding Antonio (The Merchant of Venice 2004). Due to Shylock’s insistence on his pound of flesh, her advice to him that “…mercy is twice blest: it blesseth him that fives and him that takes…” (Act IV, I,). In addition is that if he was to take his pound of flesh “there should not be a shed of blood; lest his goods and land be forfeited” according to Venetian laws. Further still, is the fact that he should precisely cut one pound, nothing more, advising that “if the scale do turn, But in the estimation of a hair, Thou diest and all thy goods are confiscated.” In regard to this form of discrimination, Shylock provides varying contexts of comparison i.e. “… Hath not a Jew eyes? Hath not a Jew hands, organs, dimensions, senses, affections, passions; fed with the same food, hurt with the same weapons, subject to the same diseases, heald by the same means… Revenge. If a Christian wrong a Jew, what should his sufferance be by Christian example? Why, revenge. The villainy you teach me, I will execute, and it shall go hard but I will better the instruction (Act III, scene I) The movie handles the tone and mode excellently, aided by the brilliant performance of Al Pacino; who is able to portray the persecuted Shylock in a contextual manner. The different settings provide the different tones, in terms of mood-setting. As a result it is romantic affair, as Bassanio and Portia become married, shifting dramatically to the tense scene during the court hearing. In addition, is the very acrid moment, when Shylock discovers his missing fortune, as well as his daughter’s eloping with the Christian Lorenzo. During the episode where Antonio borrows from Shylock, there is a sense of disgust and reluctance from the latter, as he cites the abuse he had previously undergone under Antonio. This is in addition to the humiliation which he undergoes as a discriminated Jew, and afterwards in his converted state to Christianity. This is in addition to various scenes that depict dramatic-comedy, in addition to romance and tragedy that is vividly portrayed in the different role-plays (The Merchant of Venice 2004). The film as Mulr further cites, handles the plot wonderfully, with different portrayals showcasing the prevailing social contexts of the Edwardian Venice setting. As part of the larger Jewish community in Venice, Shylock is discriminated against by the Christian majority; aptly dressed in drab clothing that is symbolic of the ghetto-life the Jews are placed in (64). usury is a disrespected concept, with moneylenders who charge interest being considered inferior to the rest of society. this is the situation in which Shylock finds himself in; on the one hand, portraying the society’s need for continued economic sustenance, abate the ‘moral standards’ present. This is perhaps what informs his daughter’s eloping, while having stolen a substantial amount of his possessions. In this regard, there is a form of discrimination and bias; in regard to justice and judicial dispensation (67). This is vividly portrayed in the court hearing that follows Antonio’s lack of fulfilling hid debt on time. here, there is a conspiracy to not fulfill the bond present, through various implications as provided by Portia as the disguised knowledgeable visitor. In terms of love, nothing portrays its handling, as the courting of Portia by Bassanio; as well as the eloping of Shylock’s daughter with a Christian individual. These are amongst the various roles portrayed in the film/ play, dependent on the prevailing contexts (Mulr 70). In conclusion, I am really impressed with the film’s production, abate the ‘Anti-Semitism’ context; which has been influential in its lack of mainstream production. Al Pacino provides a great role-play of the main character Shylock, backed up by an equally qualified cast; in their varying roles. Shylock’s state of confusion portrays a heightened mirage of the state of affairs in the era. There is blur beyond reckoning, of the distinction between paternal anguish and wrathful avarice; the lights gradually diming in limbo. There is no ‘escape’, as every aspect of the play is mirrored in perspective/ contextual content, with a clear perspective proving hard to come by; in this wealth-driven global society. In terms of rating, I would put it at 7/10; critically as a result of the good cast, plot of the movie, costume and stage setting, as well as artistic projection. Works Cited Mulr, Kenneth. “The Merchant of Venice”. Shakespeare’s Sources: Comedies and Tragedies. New York: Routledge, 2005. Print. The Merchant of Venice. Dir. Radford, Michael. Perf. Al Pacino, Jeremy Irons, Joseph Fiennes and Lynn Collins, 2004. Film Read More