The Merchant Of Venice (2004) Emilio Estevez William H Bonney Kiefer Sutherland Doc Sculock Charlie Sheen Dick Brewer Dermot Mulroney Dirty Steve Stephens Terence Stamp Johns Tunstall Thomas L. Callaway Joe Grant Lou Diamond Phillips Jose Chavez y Chavez Casey Siemaszko Charley Bowdre Jack Palance L G Murphy Terry O'Quinn Alex McSween Sharon Thomas Susan McSween Geoffrey Blake J McCloskey Directed by: Michael Radford Produced by: Manfred Wilde, Michael Hammer, Peter James (IV) Set in 16th century Venice, Bassanio is the typical Elizabethan lover and aristocrat--young, impulsive, romantic--whose lavish lifestyle has left him deep in debt and desperately in love with the fair Portia of Belmont. But to win her hand, he must prove his worth. To prove his worth, he must not only raise money he doesn't have, but he must also correctly solve the riddle of matrimony bequeathed by Portia's late father. Determined to call Portia his bride, Bassanio employs the support of his dear friend Antonio, a successful merchant residing in Venice. But Antonio is short of resources and must use his credit for a loan. This loan comes in the form of Shylock, a Jewish loan shark who, like all his people, is forced to live in "getos" and has limited access to the city. Antonio has publicly denounced Shylock and other Jews for their practice of usury, and consistently hurts their business by offering loans with no interest. This set of circumstances, along with the persecution of Jews at the time, has made Shylock spiteful towards Antonio, who jumps at the chance to have the merchant in his debt. However, this time Shylock decides to offer his loan at no interest; instead, he demands a pound of flesh from Antonio if his loan is not repaid on time. Confident that Bassanio will return his good fortune three times over, Antonio agrees to the unusual terms. As Bassanio travels to Belmont with Gratiano to woo his beloved, other events threaten to ruin his quest before it is fulfilled. Portia, in the company of her lady-in-waiting Nerissa, has already been welcoming potential suitors, who at any time could solve the mystery of her father's will which states that she must marry the man who correctly chooses one of three caskets. Then Antonio's trade ships fail to produce any profit for the merchant. Meanwhile, Shylock's daughter Jessica impulsively elopes with Bassanio's friend Lorenzo; in the process, she escapes with a fair amount of her father's personal wealth. This shatters Shylock to the core and causes him to focus all his energy on the repayment of the debt, almost taking out a lifetime of discrimination on the merchant. Upon hearing of his friend's situation, Bassanio leaves Belmont and rushes home to find a solution to Antonio's predicament. But before Bassanio can arrive home, the loan is declared in default and the distraught and semi-deranged Shylock demands his pound of flesh from Antonio in order to fully seek his revenge. The Duke, the reigning power in the city, has called a legal expert to the court to proceed over these extraordinary hearings. ========== Venice, 1596. Melancholy Antonio loves the youthful Bassanio, so when Bassanio asks for 3000 ducats, Antonio says yes before knowing it's to sue for the hand of Portia. His capital tied up in merchant ships at sea, Antonio must go to Shylock, a Jewish moneylender he reviles. Shylock wraps his grudge in kindness, offering a three-month loan at no interest, but if not repaid, Antonio will owe a pound of flesh. The Jew's daughter elopes with a Christian, whetting Shylock's hatred. While Bassanio's away wooing Portia, Antonio's ships founder, and Shylock demands his pound of flesh. With court assembled and a judgment due, Portia swings into action to save Bassanio's friend. ========== Shakespeare's most problematic play — at least with respect to modern sensitivities — receives an intelligent interpretation from Michael Radford and from a superb cast. Al Pacino, showing welcome restraint after a series of overdone stage and screen performances, emphasizes Shylock's grief and estrangement, turning him into a fragile monster. But his villainy, however much it smacks of blood libel, cannot be discarded without compromising the play's complex ideas about justice and duty, and Mr. Radford does not try to wash away the stain of anti-semitism that is woven into the heart of his source. He does remind us how much more is going on in the play, and along with his talented production designer and cinematographer he renders Venice as a series of Renaissance paintings — tableaux that, in evoking Velasquez, Rembrandt, Titian and Vermeer, immerse us in the ferment of early modern Europe. Jeremy Irons is quietly mesmerizing in the title role, a creature of mysterious melancholy whose soul seems at once pure and rotted. The movie really belongs to Lynn Collins, who gives Portia her rightful wit and charisma, and makes her play's cruel and lovely moral center.