The Merchant of Venice / Trevor Nunn, Royal National Theatre

Starring:David Bamber, Peter De Jersey, Mark Umbers, Alexander Hanson, Jack James (III), Richard Henders, Derbhle Crotty, Alex Kelly (II), Henry Goodman, Chu Omambala, Andrew French, Oscar James, Gabrielle Jourdan, Raymond Coulthard, Mark Springer, Ceri Ann Gregory, Leigh McDonald, Lawrence Werber, John Nolan (XIII), David Burt (III)
Director: Trevor Nunn, Chris Hunt
Studio: Image Entertainment
Product Type: DVD

Editorial Review:
Amazon.com
The often volatile character of Shylock, a Jewish moneylender, is powerfully realized in Trevor Nunn's stylish film of Shakespeare's The Merchant of Venice, which uses theatrical sets but is shot as a movie. Shylock (played with fierce commitment by Henry Goodman) loans money to a man he despises, the merchant Antonio (David Bramber), only if a pound of Antonio's flesh will be due upon default. Antonio borrows the money so that his friend Bessanio (Alexander Hanson) can travel to woo the woman he loves, Portia (Derbhle Crotty), whose freedom to marry is bound up in a fairy-tale decree of her father's. The play's mixture of tragedy and comedy often baffles contemporary audiences; Nunn attempts to solve this problem by treating almost everything as seriously as possible. While his approach serves Shylock well, the play's conclusion--in which Portia tests her husband's commitment--could use a lighter touch. --Bret Fetzer
Description
William Shakespeare's controversial classic comes to bristling life in this riveting production from theater legend Trevor Nunn. Relocated to Europe between the two world wars, the story follows the misadventures of young heiress Portia, who must don the disguise of a male lawyer to save the life of her love, and the financially obsessed Shylock (Notting Hill's Henry Goodman), determined to literally collect a pound of flesh in court. Trevor Nunn directed the landmark revival of Rodgers & Hammerstein's Oklahoma! with Hugh Jackman as well as groundbreaking versions of Nicholas Nickleby, Othello, and Porgy & Bess. Originally presented to tremendous acclaim at the Royal National Theatre in June, 1999. Awards include: Olivier Awards - Best Actor (Henry Goodman) / Critics' Circle Theatre Awards - Best Actor (Henry Goodman)

The Merchant of Venice / Trevor Nunn, Royal National Theatre
Average customer rating:

Antonio should forget it . . .

A Merchant to See

A Powerful Portrayal of a Sad Production

I gave it five stars but...

riveting performances - Shakespeare at his best!

The Merchant of Venice / Trevor Nunn, Royal National Theatre
Starring: David Bamber , Peter De Jersey , Mark Umbers , Alexander Hanson , and Jack James (III)
Director: Chris Hunt , and Trevor Nunn
Manufacturer: Image Entertainment
ProductGroup: DVD
Binding: DVD

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ASIN: B0001UZZM2
Release Date: 2004-05-04

Amazon.com

The often volatile character of Shylock, a Jewish moneylender, is powerfully realized in Trevor Nunn's stylish film of Shakespeare's The Merchant of Venice, which uses theatrical sets but is shot as a movie. Shylock (played with fierce commitment by Henry Goodman) loans money to a man he despises, the merchant Antonio (David Bramber), only if a pound of Antonio's flesh will be due upon default. Antonio borrows the money so that his friend Bessanio (Alexander Hanson) can travel to woo the woman he loves, Portia (Derbhle Crotty), whose freedom to marry is bound up in a fairy-tale decree of her father's. The play's mixture of tragedy and comedy often baffles contemporary audiences; Nunn attempts to solve this problem by treating almost everything as seriously as possible. While his approach serves Shylock well, the play's conclusion--in which Portia tests her husband's commitment--could use a lighter touch. --Bret Fetzer

Description

William Shakespeare's controversial classic comes to bristling life in this riveting production from theater legend Trevor Nunn. Relocated to Europe between the two world wars, the story follows the misadventures of young heiress Portia, who must don the disguise of a male lawyer to save the life of her love, and the financially obsessed Shylock (Notting Hill's Henry Goodman), determined to literally collect a pound of flesh in court. Trevor Nunn directed the landmark revival of Rodgers & Hammerstein's Oklahoma! with Hugh Jackman as well as groundbreaking versions of Nicholas Nickleby, Othello, and Porgy & Bess. Originally presented to tremendous acclaim at the Royal National Theatre in June, 1999. Awards include: Olivier Awards - Best Actor (Henry Goodman) / Critics' Circle Theatre Awards - Best Actor (Henry Goodman)

Customer Reviews:

Antonio should forget it . . ........2006-02-21

This is a bleak, dismal version of what is admittedly a problem play. Antonio is clinically depressed, Basanio is boring, Portia couldn't win a case in traffic court.

Try Al Pacino's version. MUCH better.

A Merchant to See.......2005-09-29

If you are a fan of The Merchant of Venice but were disappointed by Al Pacino's Shylock this DVD may be for you. Henry Goodman brings a grounded and passionate honesty to the role that Pacino sorely lacked. Although, I was not impressed by David Bamber as Antonio (boring) or Derbhle Crotty as Portia (lacking any real substance; Raymond Coulthard as the Prince of Arragon is historical and steals his scene. The show worked better on stage than it does as a filmed version but it is still well worth a viewing.

A Powerful Portrayal of a Sad Production.......2005-04-28

The works of William Shakespeare are rightly hailed as the pearls of English literature. Alas, in any collection of pearls there is one that is misshapen. This is that one.

The story centers around a man who must borrow a sum of money from a Jew for the sake of a friend. Instead of charging interest, the Jew demands a pound of flesh if his bond is forfeited. This has often been played in such a manner as to depict jewry in general and Shylock (the Jew) in particular as evil money grubbing people who wish nothing so much as the painful demise of Christians. There are other subplots but this is the crux of the story which reaches a climax when the pound of flesh is demanded.

The story is blantantly anti-Semetic. This production, however, goes some distance in redeeming it. The cruelty and discrimination which plagued Shylock's people are made evident in this production. It is easy to see how, in his torment, Shylock is driven towards revenge. So too are many of the "Christians" depicted in a less than flattering light. Both sides of the story are so driven by their respective hatreds and predjudices that it is difficult to have much sympathy for either. In the end it is the women, another group mistreated by the age, that manage to temper harsh justice with some degree of mercy.

This production is magnificent, though non traditional. It is set in Europe at about the time of the Great Depression. Taking Shakespeare out of its normal temporal bounds is done fairly often but does not always work well. In this case it does. The sets are approached in a minimalist manner but are adequate to the task. It has the feel of a stage production while still being clearly produced for the cinema. It is done with understated elegance.

So too is the acting of the highest caliber. Each of the principle parts is portrayed with a passion which almost makes up for the unlikeability of the characters.

This production is at time painful to watch because it is so good. It highlights some of the worst features of men but does so in an engaging manner.

I gave it five stars but..........2005-03-02

I can't decide if I love or hate this production. The acting is amazing, don't get me wrong. The sets are amazing. In reality, this play was done in a theatre resembling a stadium with the stage running down the middle of the auditorium, the wings on either side, and the audience on the left and right of the stage. That's why it looks so complex that you'd think, "how could they have done this onstage." The walls were built in later, I guess. But, here's where I can't decide whether I hate it or love it. This is one of Shakespeare's most controversial plays. It's probably his most controversial. Why? Because the Anti-Semitic content is more evident than it will ever be in Mel Gibson's "The Passion of the Christ." And I mean no offense by this remark. I'm not saying that "The Passion of the Christ" isn't anti-semitic or that the Jews killed Jesus. I condemn anti-setism but I haven't seen that movie so therefore, I just don't get it entirely. I should know. I'm half-Jewish.

When I first read the play, I'm ashamed to say that this was my reaction. My first image of Shylock was a hunched-over, grumpy, little old man in [...]long robes and a long beard. His eyes were very leering (in my head) and he was much like those grumpy men you see in cartoons. I think he had a cane. In his last scene, I envisioned him shuffling off. I smiled. I thought he was a villain. So I was happy at the end when all was resolved. But then I did some more research on this play. I had only read it once before. They make him convert to Christianity!? That's an extremely anti-semitic act. Around the time that "The Passion of the Christ" was booming at the box office, I heard that a film adaptation of the play would be released the following year starring Al Pacino as Shylock, I thought, "God, hasn't the movie industry dealt with enough controversy." It didn't cause as big a stir as I anticipated.

Now, about this version. Trevor Nunn gives not an evil and plotting Shylock but a bitter and angry Shylock, a complex Shylock. Nunn is a master at shattering stereotypes. He presents with a Shylock who has dealt with years of anti-semititic behavior (for lack of a better word) directed towards him and his race. So we see his motivations. Also, we feel more for him when we see him in his yamurlke or setting up the lamp outside his house or conversing with his daughter, Jessica in Yiddish or singing with her in Hebrew (I can only wonder what that song meant but I like to think it's a song about happier times). Then, just as he is about to cut the pound of flesh from Antonio, his friend, Tubal, starts to leave the courtroom and gives Shylock a look that for me says, "This race has been through so much crap. Why do you want to make it worse for us, Shylock? Is it worth it?" It's moments like that that make this production so powerful and controversial for me. The sight of Shylock ripping off his traditional garments is chilling as is his exit of the courtroom. Everything's in silence. The ending also has its share of stereotypes. Basically, if you do the play and you do it so that Shylock looks like the villain, it's a happy ending for fans of anti-semitic entertainment because everyone's all happy, including Shylock's daughter. Instead, Nunn gives us an ending of uncertainty. Jessica backs away from the group. Portia notices that something is wrong and starts to converse about the coming of the day. For the first time in this production, it seems like a gloomy day is on the horizon. Meanwhile, Jessica breaks into that same Hebrew song. She is on the verge of tears. The film ends as thunder rumbles in the heavens as if to symbolize uncertainty.

I didn't get that ending at first. I thought Jessica was mourning for her father or asking forgiveness from her race. However, Nunn's interpretation is that by singing this song, she's saying, "You may have broken a Jewish man but his daughter's still around and she won't take the crap he had to take every day of his life." It's a haunting ending. The characters seem to be reminded of their sins.

All in all, as I write this review, I've decided that this production is powerful, not anti-Semitic. Nunn has given us a version of the play that should be considered the definitive production of the play. And now for the performances.

Henry Goodman deserved his Olivier for the part of Shylock. Had the production been brought to Broadway, he would have certainly won the Tony. He steals the show. Derbhle Crotty is a sassy and sexy Portia and looks just like she's been picked out of an old 30s [...]photo albumthis production being set in the 30s. Those were my two favorite performances. I particularly liked Nerissa's singing voice and I think she looks like Imelda Staunton a.k.a. the lady who played Vera Drake. Finally, while this production is powerful, it is funny, especially when the two princes are onstage. (Arragon does a flamenco dance. It's pointless but it helps define his character.)So, get this DVD and decide for yourself if you love it or hate it. And log on to the PBS website. They've got some stuff on this production 'cause it was on Masterpiece Theatre.

riveting performances - Shakespeare at his best!.......2004-09-13

This Royal National Threatre production is an excellent presentation of one of Shakespeare's most controversial plays. I was riveted for the whole performance, which is what a good production of Shakespeare should do. Although it does not have the same production values as a Branagh production (it is more of a stage production on film), the acting and direction are suberb. Henry Goodman as Shylock delivers an especially strong performance and won an award for it. The setting in the pre-War period really works, unlike many other transpositions of Shakespeare I have seen, and the sets, with its use of contemporary art, though minimal, also work. I highly recommend this DVD.

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