El mercader de Venecia

I am always impressed when a director (and this case director/screenwriter) takes a piece of classical text - and makes it come alive. Sure, Shakespeare's text can give you goosebumps even when hammered out with self-importance, but to see a production where true inventiveness makes wonderful words even more so - by the provision of context or nuance not found in the stage directions is simply awe-inspiring. There are many troubling things about the play. It is a racist play about racism - and that still sticks. I have never accepted Jessica's desertion of her father without any acceptable reason. I have never accepted the Christians' position of sanctimonious self-righteousness. But, brilliantly, there is a text prologue which helps us understand the times and politics in which the story is set, and mercifully, much of Jessica's part is cut.

The text is quite stripped down with many passages cut. But, I only noticed one line which was cut at the moment when I expected to hear it - and it was replaced by a look that said it all. This economy and judicious editing has given us a gripping movie - not just a film of the play.

And at last, there is a rationale as to why Antonio is so loyal and generous to the undeserving/unrelated Bassanio - you can almost feel Antonio's pulse start to race when he catches glimpse of Bassanio passing by in a gondola, or arriving for a visit. But it is as subtle as that - no more. I was spellbound.

There were many other highlights. I felt the arguments during the trial to be heartbreaking. And, the suitors' trials are hilarious.

Add all that to glorious cinematography and costumes that resonated with the times, and you'll understand why I can't wait to see it again. And again.

I just saw this at the Toronto International Film Festival in the beautiful Elgin Theatre. I was blown away by the beautiful cinematography, the brilliant adaptation of a very tricky play and last but not least, the bravura performance of Al Pacino, who was born to play this role, which was perfectly balanced by an equally strong performance from Jeremy Irons.

The film deftly explores the themes of love vs loyalty, law vs justice, and passion vs reason. Some might protest that the content is inherently anti-semitic, however they should consider the historical context of the story, and the delicate and nuanced way in which it is told in this adaptation.

9/10

This British-US-Italian co-production is set in 16th century, Venice. It's a taking on Shakespeare book based on ¨pound of flesh¨ drama, focusing a tale of religious and social prejudice, where the Jew Shylock gets its vengeance in a money loan .(Jeremy Irons) Antonio's friend Bassanio(Joseph Fiennes)is in love and needs money to go courting Portia(Lynn Collins.) Antonio borrows money from ambitious and revenger Shylock. Then, Shylock's daughter named Jessica(Zuleikha Robinson) runaway home with all jewels and money. The Jew Shylock(Al Pacino) has a long memory of oppression but vendetta isn't so sweet and reclaims repayment over Antonio's flesh. Shylock becomes furious and is extremely motived by the injustices of life as Jew. Meanwhile the trial is assembled and Portia goes into action to save Antonio.

This very enjoyable film is a balance of both, tragedy and comedy. As is both delightful, disturbing and dramatically marvellous. Al Pacino delivers a wonderfully complex and dark performance. His portrayal is pretty watchable and absolutely memorable, he's a Shakespeare expert , like he proved in ¨Looking for King Richard III¨ which he starred and and directed. I found particularly nice the way the film handled the court rivalry , the antagonism between them and final result. The movie packs an evocative musical score by Jocelyn Pock(Eye wide shut) and colorful cinematography by Benoit Delhomme, director's usual cameraman. The motion picture is well directed by Michael Radford. Another adaptation about this known book are mostly made for TV, these are the following : 1973 with Laurence Olivier, Joan Plowright and Jeremy Brett ; 1980 by Jack Gold with Warren Mitchell and John Rhys Davies ; 2001 by Trevor Nunn with Henry Goodman. And by Orson Welles with Oja Kodar but was scrapped and pretended to release with other of his unfinished movies, though never completed when the negatives were mysteriously lost. I would recommend this picture to anybody interested by Shakespeare.

One of William Shakespeare's finest plays is dramatically brought to the silver screen in all its splendor.

From the director of the film version of 1984, Michael Radford has created a masterpiece for everyone to enjoy time and time again.

With an outstanding cast that includes Al Pacino, (Shylock) Joseph Fiennes, (Bassanio) Jeremy Irons, (Antonio) Kris Marshall (Gratiano) and Lynn Collins, (Portia); this beautiful movie is a must see for every Shakespeare enthusiast.

The story is set in 15th century Britain when many Jews were sadly persecuted in the streets for no apparent reason. Bassanio with the help of Antonio visit a wealthy Jewish loan shark called Shylock and ask if they may borrow some money so Bassanio can visit his love, Portia. Shylock agrees but demands a pound of flesh from Antonio if he can not meet his strict payment demands.

A while later Antonio can not pay the loan and Shylock demands his pound of flesh. A ferocious court battle then takes place between the two men as Antonio's friends and family gather round to await his verdict.

This is a remarkable cinematic experience with the passionate Al Pacino at his best. Also look out for the rising young star, Kris Marshall from the hit, Love Actually. He played the part of Gratiano which such emotion and dignity.

This film, which will most certainly be up for Oscars, clearly demonstrates that Shakespeare can still entertain crowds centuries from his death.

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.