In The Merchant of Venice, the role of Shylock is crucial as he is depicted as a money lender who charges interest, also known as a usurer. Shylock made an agreement with his customer, Antonio, stating that if Antonio failed to repay him, Shylock would have the right to take a pound of his flesh. As expected, Antonio was unable to repay the debt and the matter was taken to court. We observed three different interpretations of Shylock and examined the various roles he played. One notable interpretation was Al Pacino’s portrayal, leveraging his fame as an Italian-American actor.
Directed by Michael Radford, this film version was specifically made for cinema viewing. In contrast, we also watched Henry Goodman’s interpretation of the scene. While not intended for a large audience, this version was created by the Royal Shakespeare Company, giving it more of a stage play feel. The set design was deliberately dull, enhancing the theatricality of the performance. Being an RSC production, they stayed true to the original text without adding any personal alterations. Lastly, the final version we viewed was produced by the BBC for television purposes.
Despite the budget difference between Goodman’s and Radford’s adaptations of The Merchant of Venice, both were equally impressive. Contrary to my initial expectations from reading the book, Shylock’s true nature is revealed as more than just a selfish and greedy man. However, I did not experience the same sense of sadness at the end of the scene while reading that was conveyed in all three film versions. As mentioned earlier, Michael Radford intended his adaptation for a cinema audience, setting it in 16th century Venice with costumes appropriate for that time period.
He wears a long black robe and a Jewish skull cap, portraying a frail and elderly character. Upon entering the court, Shylock appears thoughtless and uncaring, while the crowd holds back to protect him from harm. He purposely undermines Antonio, making him feel diminished and like a potential victim. When Portia, disguised as a doctor of laws, addresses Shylock by his name, it is an uncommon occurrence as most refer to him as “the Jew.” Shylock proudly pronounces his name with a distinct Jewish accent, displaying his pride in his heritage. The reality of Antonio facing the possibility of having a pound of flesh cut off becomes more apparent. In this moment, he shares what he believes to be his last words with Bassanio, evoking intense emotions for both of them. Those who did not feel sorrow during those few minutes must have possessed a heart of stone.
Shylock briefly glanced at them, then swiftly lowered his gaze and proceeded to sharpen his knife on his shoe. He began to roll his eyes, conveying that they were wasting his time. Al Pacino’s portrayal perfectly captured the emotions and showcased Shylock’s sentiment towards the situation. Once Antonio and Bassanio concluded their conversation, Shylock mentioned his daughter, Jessica. Instantly, a transformation occurred in his expression. His face contorted and he clenched his teeth in an almost animalistic manner.
This passage demonstrates Shylock’s anger towards Jessica for marrying a Christian, which poses a threat to Antonio due to his own Christian beliefs. Shortly thereafter, it becomes clear that Shylock is prepared to exact revenge by cutting off a pound of Antonio’s flesh. He begins by sharpening his knife on his shoe once again, followed by a prayer. Despite holding the knife with both hands, his nervousness is evident as it continues to tremble. The intensity on his face is striking. Portia interrupts, causing him to shout in frustration as she interfered with his concentration. She proceeds to explain the terms of their agreement, warning Shylock that any deviation or noncompliance will result in significant consequences.
Shylock scrutinizes the written text and gazes around, shaking his head in confusion. He mutters to himself, questioning whether that is truly the law. His eyes betray bewilderment, hindering his ability to meet Portia’s gaze. He kneels down in prayer, tears flowing down his cheeks. It appears as though he longs to release all of his emotions but restrains himself and regains composure. As he departs, he lowers his head and endures being spat on by a spectator in the court. Shylock disregards this act, despite knowing that he has lost everything.
The second version of the scene we watched was directed by Trevor Nunn. The character that played Shylock was called Henry Goodman. It was filmed by the Royal Shakespeare Company, and so wasn’t made for TV or cinema purposes. It was mainly aimed at schools studying the book. I think considering the low budget, and the slightly dull set, it was well performed. The quality of the acting was superb, and I think that if they were replaced onto an expensive, attractive set, then overall it would have turned out just as good, or perhaps better than any of the others.
During the 1930’s, the play portrayed the setting through the characters’ clothing. Shylock, a Jewish businessman, donned a dark three-piece suit with a white shirt and tie. He also sported a talleth, similar to a scarf adorned with tassels around his neck, and a kippa or Jewish skull cap. When the scene commenced, Shylock confidently approached the Judge’s desk and assertively placed his bond on it. Throughout his speech, he maintained eye contact with both the Judge and the audience. As the scene progressed, Shylock’s emotions intensified which occasionally hindered his clarity of expression.
In my opinion, Trevor Nunn effectively utilizes volume in this scene. A notable moment is when Goodman whispers ‘Tis Mine’. Furthermore, when Portia appears to be on his side, Shylock kisses his talleth, symbolizing his belief that his luck is connected to his religion. This action catches the attention of Tubal, a fellow Jew, who then stands up and leaves the courtroom. As he does so, Tubal looks at Shylock with disappointment. This causes Shylock to pause and contemplate his actions for a few moments. However, he quickly dismisses these thoughts and continues without further consideration.
