The Merchant of Venice (2004) REVISIT

Il Postino director Radford leans into a modern interpretation of The Merchant of Venice. There are subtexts in the text that are interpreted differently over the plays' 400 year existence. Shakespeare includes a biting critique of the antisemitism of the time. He also includes a robust depiction of a passionate love between two men. But it is easy to leave these lying under the radar when producing The Merchant of Venice. Radford has brought it all to the surface in this adaptation made for our modern sensibilities.

Radford also gives Pacino an opportunity for a scene stealing performance. Radford says he see Shylock, for centuries seen as a villain, as a tragic hero, Shakespeare's first great tragic hero, and this film centres him in a way that highlights this. Pacino is cast for a reason, he is the centre of the film despite Irons having the title role. The film wrestles with his uncomfortable comeuppance, one brought on by his own stubbornness, a stubbornness the film goes a long way to helping us understand. We sympathize with him even as he wish for him to grant mercy. One of the fascinating things about this take is the way the film both recognizes our relief in Shylock not obtaining his pound of flesh but our regret in his final fate. It makes us live in that tension, a tension which can be uncomfortable to be in.

While it makes us wrestle with that, it also explores the love between Antonio and Bassanio. Often this is presented as the deep platonic friendship men of the era commonly enjoyed with each other. But here the men are obviously in love, and have a physical aspect to their relationship. They kiss in the film, and not as friends do. The film also makes us sit with the love triangle they make with Portia, a woman presented both by Shakespeare and this film as likely the smartest and most powerful character in the play. She is given the chance in this adaptation to choose her own fate and in choosing marriage with Bassanio, a man clearly in love with someone else, she chooses her own freedom, perhaps in the only way a Venetian woman of means might be able to. 

There are textual supports for these readings, yet they are expressly modern in their sensibilities. Radford brings it all together quite effectively. It all feels just right, and fascinating. Radford's film is lovely in its hushed candle light. He has set his film is Venice's heights of beauty, art, and fashion. 

Pacino is very strong in his role, one that is multilayered and complex. As is the rest of the cast. Irons as Antonio is tragic as well and the film sets them up as counterpoints. Each with their faults which bring them down. But also each with our sympathies and understandings. So when the film reaches its resolution, it is one its audience is resolved to but perhaps not completely okay with. It's lovely and melancholy, and perhaps captures how a 21st century audience can understand it.

The Merchant of Venice

Starring:  Al Pacino, Jeremy Irons, Joseph Fiennes, Lynn Collins, Charlie Cox

Director: Michael Radford

Writers: William Shakespeare, Michael Radford