Review - Film - The Merchant of Venice

 

The Merchant of Venice

Cher and I attended "The Merchant of Venice" Wednesday, March 30th at the Starz Film Center on the Auraria Campus in Denver, CO. The theater itself is cobbled together of used theater equipment and while not sumptuously appointed, it proved to be clean and fairly comfortable – though it did not have a big screen, Dolby Surround Sound, or stadium seating. I found myself harkening back to the ‘80s. The staff was commendable for being friendly, efficient, and professional.

Now to the film... The lighting, cinematography, and scenes were rich and sumptuous. The costumes were impressive though unremarkable. The story is set in Venice at the height of it’s power, 1594. Everywhere there are bare chested courtesans and masked revelers. Anti-Semitism is at it’s height as well. The Jewish people are reviled and sequestered in a part of town referred to as the ghetto. To leave the ghetto, a man must wear a red hat signifying that he is a Jew. The film makes a point of showing over and over that it was common practice to harass and even spit on the Jews outside of the ghetto.

Al Pacino plays Shylock a Jewish lender who agrees to lend money to Antonio (Jeremy Irons) on behalf of his beloved friend Bassanio (Joseph Fiennes) that he may be given the chance to woo the witty and lovely Portia (Lynn Collins). Shylock is among the most tragic of characters in all of Shakespeare’s plays. He evokes both sympathy and disgust. To revenge himself for being spit upon and called a dog by Antonio, he agrees to lend the money under the terms that, should Antonio default, he should yield up a pound of his flesh in repayment. Pacino’s performance, albeit somewhat drawn out labored at times, is brilliant on the whole. His collapse at his moment of anticipated triumph is heart breaking. Shylock, in the classic tradition of Oedipus, is offered many opportunities to avoid tragedy but elects instead to pursue his revenge – which leads to his undoing.

Antonio is the wealthy merchant of Venice. He is honorable, noble, and generous to a fault. He loves his friend Bassanio and when Bassanio comes to him to request funds to woo the lovely Portia, he does not deny him. Despite the fact that he is currently without the funds, he extends his credit that Bassanio might have the opportunity. He does this for the love of his friend Bassanio. Tragically, his ships fail to come in and he honorably submits himself to the Duke for judgment. Mr. Iron’s turns in yet another solid, if unremarkable, performance - which, is something I respect – the willingness to step back and let others shine.

Joseph Finenes is the naïve and love struck Bessanio. He plays a likeable and dear friend to the noble Antonio. His performance was also solid and not overblown. He was believable, genuine, and fun to watch. I buy his affection for the lovely Portia. Lynn Collins’ portrayal of Portia is the most memorable of the production. She is uncommonly lovely, smart, witty, and mirthful. Her performance is subtle and every bit is spot on in my opinion.

On the whole,there are some really entertaining moments interspersed with long moments of development that might have been condensed. This is balanced by the rich visuals and strong ensemble performance along with the impressive performances turned in by Al Pacino and Lynn Collins. It is not critical that you see this one on the silver screen for it would be just as, if not more, pleasing in the comfort of your own living room. It’s a production worth seeing – neither the best or the worst I’ve seen.

RCS