Shakespear in movies

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  • Publié le : 21 novembre 2010
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A poorly done film

Watching this movie and then listening to the commentary, it's clear that Michael Radford doesn't understand this play. The first clue that he fails tofully grasp the work is that he takes pains to set the film in seventeenth-century Venice. Which sounds truly odd, yes, that misunderstanding the film would mean trying to make it as accurate to itslocation as possible. But anyone who's studied Shakespeare knows that, while he set most of his plays in exotic locals, the culture and values are always contemporary England. This doesn't hurt the film,but it displays a lack of necessary knowledge.

Where Radford kills the film is in making it so dead serious. He manages to suck every joke out of the script, leaving the whole production flat.Every ounce of passion is beaten out of the characters. Even Shylock's 'Do we not bleed' speech is a mild, awkward ranting from a choleric who seems to only be saying and doing what he does because he'ssupposed to. The lovers are solemn and far too restrained (Joseph Fiennes delivers some of the most romantic lines in the cinema this year in a barely audible whisper), Gratiano (who has to promise tobehave at one point) is more sober and collected than Bassiano (who makes him promise to behave), Jessica is reluctant to leave her father and spends her life with Lorenzo pouting.

'The Merchantof Venice' is a comedy and Radford scoffs at the idea that the most absurd and hysterical portions of the story are anything but the most daringly provocative drama.

The film has no intelligiblefocus, yet cuts out some of the most entertaining scenes. The characters are forced into high drama veils, so they come out sounding like Ibsen characters reading Victorian poetry. And the comedicending, where all of the good guys go to bed happy, is drowned in a dignified despair that feels like they're finding stiff- upper-lip peace with impending death, rather than reconciling with lovers. Even...
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