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Comparative essay on Shakespeare’s The Merchant of Venice with Al Pacino’s film adaptation
The merchant of Venice, written by William Shakespeare, has been performed in theatres across the world for many years. The play is also adapted into several films, including Michael Radford’s Al Pacino and RSC. The novella revolves around Shylock, a wealthy moneylender depicted in the play as greedy and vengeful jew. He lends money to Antonio, an excellent Christian merchant who, in turn, gives it to his good friend Bassanio. Bassanio tells Antionio how he is in love with Portia, who had just lost her father. Portia’s father had left a will that a man who picks the correct casket out of three can marry her. Antonio lent money to Bassanio, who intends to use it to woo Portia. Shylock, gave out extraordinary terms on the loan as he was nursing a grudge against him. Antonio did not meet the payment. Bassanio and Portia come to his rescue. The following paper will, therefore, examine similarities and differences presented in the film and the play.
The main character Shylock in Shakespeare’s The Merchant of Venice is depicted as a greedy, vengeful, and overprotective father. Over the years, he is seen as an evil and heartless monster. However, in Al Pacino’s Shylock, he is depicted as a man with his dogmas but determined to seek revenge from his oppressors. However, both the play and the film recognizes that Shylock (Al Pacino) does not have the right to the pound of flesh, as he claims. He insists that if he is denied, it would be a direct attack on him as a person by society.
In the movie scene, the number of people during the trial is larger than mentioned in the play. The crowd in the film played a role of verbally abusing Shylock apart from the ones with the red caps who were noticeably silent. Arguably, they are used to represent persecuted Jews who were among the silent.
Moreover, Al Pacino remains relaxed throughout the court proceeding in the film. He speaks slowly and appears composed until when he feels that is rights are threatened. He shouts, “the pound of flesh which I demand/ is dearly bought, is mine and I will have it” (IV.i. 99-100). He repeats the phrase “is mine” three times loudly and angrily.
The staging in The Merchant of Venice at the RSC is quite different from old Venice, characterized by the presence of merchants and prostitutes. The dark scene is opened by Portia, who appears in beautiful new dresses in every scene. During the court session, Bassanio throws in a lot of gold coins as a debt settlement to rescue Antonio. The coins remain uncollected until when Shylock and Antonio went for them.
Several themes are brought out both in the film and the play, some more pronounced than others. Prejudice is evident in The Merchant of Venice. Many people view the play as anti-semitic. Antonio is a Christian who is seen as a kind and generous person. On the other hand, Shylock is depicted as a cruel and greedy Jewish merchant. This play has more than anti-semitism since Shylock justifies his intentions to seek revenge for being persecuted.
Additionally, greed is a theme that stands out in the play as well as in the film. Bassanio, in the first act, admits that he is in debt because of loans he takes from others. He also acknowledges that he takes the loans without repaying. It is also true that his attraction to Portia is not for love but her wealth.
Several characters also portrayed the theme of loyalty. Bassanio borrowed Antonio a large sum of money and promised to repay, but he did not fulfill his promise. When Bassanio borrows money from Antonio for the second time, he gives him, which shows loyalty to their friendship. This loyalty is also reciprocated by Bassanio towards the end of the play when he goes home to get money to save his friend Antonio from his debt. Jessica also expresses loyalty to her father in the sense that she later feels regretful by running away with Lorenzo while dressed as a boy. She says, “…I am ashamed for exchange,” to mean she regretted having exchanged her love and loyalty to her father for love to Lorenzo.
Both the movie and the play bring out the theme of revenge using Shylock and Antonio. Shylock appears to be very determined to get his revenge for the persecution by the Christians represented by Antonio. He lends money to Antonio to eventually get his revenge by claiming a pound of flesh. The Duke tells Shylock that everyone expected him to forego the pound of flesh and have mercy on Antonio. Later, when Shylock loses the case, the Christians deny him the same compassion they were pleading on Antonio earlier.
Some themes in the play appear to differ with those in the film. Shylock in The Merchant of Venice is predominantly described as commercially minded, which brings out the theme of greed. In Radford’s film, Al Pacino is depicted as a man whose intending money and demanding high interests. However, he uses his position for revenging injustices done to him.
Moreover, in the film, some scenes are added. Towards the end of the play, when Shylock removes the scales from his bag to way the pound of flesh, Antonio faints. Shylock appears on the screen with horror on his face looking at Antonio lying on the ground. His face shows concern, an indication of the humanity of the character. This addition clears the allegation that he is an evil man. The crowd in the court is far more significant than that depicted in the movie. The crowd is composed of hooligans full of verbal abuses, and another small group of the minority Jews huddled silently in one section. This shows how the Jews endured mistreatments in the face of the Christians.
Conclusion
Shakespeare’s play The Merchant of Venice and it’s film adaptation Al Pacino bring out the themes as originally plotted by Shakespeare. Although some scenes differ between the and the play, the film helps in understanding the densely worded play through creative characters and visual displays.
Works Cited
Shakespeare, Wlilliam. The Merchant of Venice. Ed. A. R. Braunmuller. New York: Penguin,200. Print
The Merchant of Venice. Radford Michael. Sony Film Classics. 2004