Susan Granger’s review of “The Merchant of Venice” (Sony Pictures Classics)
In a prologue to this classic, screenwriter/director Michael Radford (“Il Postino”) describes the cultural context of late 16th century Venice, a vital trading port, detailing the prevailing contempt in which Italians held Jews. For example, in order to prevent inadvertent contact outdoors, Jews had to wear red hats whenever they left the Geto, later known as the ghetto. As the story opens, Antonio (Jeremy Irons), a well-to-do Catholic merchant, curses and spits on Shylock (Al Pacino), a Jewish moneylender. Shortly after, ironically, Shylock’s tormentor borrows 3,000 ducats so that his beloved, cash-strapped, young friend Bassanio (Joseph Fiennes) can win the heart and hand of rich, noble Portia (Lynn Collins) in distant Belmont. As collateral, Shylock demands a pound of Antonio’s flesh. Thinking a new shipment of goods will arrive, Antonio agrees, only to discover everything is lost at sea. When the case comes before a Court of Justice, wily Portia disguises herself as a male juror deciding whether the bizarre bond is valid. There’s something innately questionable about tackling one of Shakespeare’s more complex plays and streamlining it for the screen, considering the depth of virulent anti-Semitism in several contemporary countries. And Radford’s adaptation meanders, mired in the tragi-comedy plot contrivances and Antonio’s homoerotic relationship with Bassanio. On the other hand, as the despicable, devious, distraught father whose daughter has married a Christian, Al Pacino’s powerful, poignant performance is matched by most of the supporting cast – and photographer Benoit Delhomme’s Venetian visuals are dazzling. On the Granger Movie Gauge of 1 to 10, “The Merchant of Venice” is a evocative 8, exploring relevant themes of love, vengeance and bigotry.
