The Merchant Of Venice review

Scholars have examined Shakespeare's Merchant of Venice for four hundred years and attempted to understand the anti-Semitism it contains. Was Shakespeare himself an anti-Semite, or was he simply portraying society around him? Michael Radford's sparkling new adaptation makes no attempt to avoid the issue: it is clear from the opening scenes that it will tackle the most unsavoury racial elements of the play head on. The first time we see Shylock he is spat upon by the merchant of the play's title before returning to his segregated Jewish ghetto. The cursory and commonplace way in which this racism is meted out pervades the film, and gives Shylock strong impetus to claim his pound of flesh.

The film also questions another key element concerning Shakespeare's text: is it a comedy, a tragedy, or somewhere in-between? The to-ing and fro-ing of the world's most eligible bachelors to decipher the code of Portia's caskets gives the play a frothy, comical air. But, uniquely in Shakespeare's work, it is counter-balanced with a dark heart in the form of the brutal treatment handed out to Shylock. Radford's own faithful adaptation, set and filmed in Venice itself, gives weight to both and makes a clear distinction between the two. Portia's remote and beautiful castle is softly lit and shimmers on the sea, while Shylock inhabits a grimy, dank and fog-infested city.

The casting of Al Pacino as Shylock is the film's talking point, and it turns out to be an excellent choice. All eyes and ears, his Shylock scours the Rialto for his next deal, is over-protective of his daughter, and sees perfect sense in both his gruesome bond and his eventual claim upon it. This is a restrained, lucid and utterly compelling performance which leads the audience to have nothing but sympathy for the maligned Jew. He is ably assisted by a strong cast with a notable Portia in the shape of Lynn Collins who plays it as sexy and sharp as they come. Jeremy Irons gives a convincing turn in the notoriously difficult title character, and Kris Marshall, best known in England for his role in the sitcom My Family, lifts his Graziano well above the bit-part status that it usually receives.

With outstanding costumes and good use of the Venetian locations (although even more of the city would have been welcome), this is a speedy, witty and entertaining adaptation that merits inclusion in the top level of films based on the Bard's work. If your expectations are of a dull story, obscure setting and difficult dialogue, this Merchant will definitely change your mind.