Rendező:
Michael RadfordOperatőr:
Benoît DelhommeZeneszerző:
Jocelyn PookSzereplők:
Al Pacino, Jeremy Irons, Joseph Fiennes, Lynn Collins, Zuleikha Robinson, Kris Marshall, Charlie Cox, Heather Goldenhersh, Mackenzie Crook (több)Streaming (1)
Tartalmak(1)
A 16. századi Velencében járunk. Bassanio fiatal, nemesi származású barátjától, Antoniotól egy nagyobb összeget kér kölcsön, hogy elhajózhasson Belmontba, és megkérhesse a szépséges Portia kezét. Azonban Antonio minden vagyonát bárkáinak szállítmányaiba fektette. Felkeresik hát a zsidó uzsorást, Shylockot. Bár Antonio korábban már többször kifogásolta az uzsorás lelketlen üzleteit, amiért Shylock neheztel is rá, most üzletet kell kötniük. Shylock feltétele: ha Antonio nem tudja időben törleszteni a kölcsönt, akkor kivághat egy fontnyi húst a testéből. Belmontban a szép Portia rémülten próbálja visszaverni a kérők hadát, mert ha bármelyikük is meg tudna felelni apja akaratának, az elnyerné a kezét és vagyonát. Megérkezik Bassanio és kompániája. A férfiből áradó kisugárzás azonnal magával ragadja, és elkezd reménykedni abban, hogy végre valahára megleli a tökéletes férjet. (SPI)
(több)Videók (3)
Recenziók (5)
I really like William Shakespeare's film adaptations, so I couldn't miss The Merchant of Venice. This film tells the story of a dispute between a Jew and a merchant in Venice, the love between a poor nobleman and a rich beauty, and much more. Al Pacino is perfect as Shylock and I managed to become incredibly invested in his role and fate. In short, a well-made film based on a timeless classic that, in addition to its theme and likeable cast, also features a likable score.
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My favourite Shakespeare play, I looked forward to seeing it adapted to film as a child. And they did a good job! Shylock, played by Al Pacino, is a treat. I don't understand how anyone wouldn’t root for him. A perfect adaptation in every sense. Beautiful cinematography and music.
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I have had a weakness for Shakespeare all my life, but I consider the “Merchant of Venice" to be one of his more average plays. The theme is full of bravado (if you can mention bravado when writing about a social-issues fairytale about a dandy deep in debt who even gets his best friend - a xenophobic hypocrite - indebted to a revengeful Jew so they could both find happiness and not pay even a symbolic cent of their debt), but the treatment, which mainly in the style of his other forgettable love comedies, is really unsuitable. It means that this is neither a comedy or a drama. But I have to admit that Radford did a much better job of it than I had expected. Even though the acting ensemble probably has a lot to do with that.
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An outstanding adaptation about spoiled noble prima donas and a fair-minded Jewish money-lender who the law wants to cheat out of what is rightly his. These days this story has completely different contours than when it was first written. Radford’s directing is sure-handed and, in acting terms, this is a recital where Al Pacino clearly rules. You can’t help rooting for him.
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In an era when every new Shakespeare adaptation raises the question of whether it will be modernized, turned into a musical, or transformed into a teenage version (all options suit me), Michael Radford dared to take a bold step – he filmed the movie exactly according to the original. That's why it took me a while to accept the audacity and slight verbosity of the theatrical dialogue, but since Al Pacino's divine acting could captivate me even if he was acting in the silliest movie ever, and since I also appreciate Ralph Fiennes' modest performances and Jeremy Irons' sad gazes, I was left with great satisfaction after the final credits. However, this is by no means a film for everyone, Shakespeare's extreme romance is used here to a great extent and those who do not appreciate sentimental endings or dialogue might give up on the film disgustedly even before its halfway point.
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