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The Merchant of Venice (2004)

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In 16th century Venice, when a merchant must default on a large loan from an abused Jewish moneylender for a friend with romantic ambitions, the bitterly vengeful creditor demands a gruesome payment instead.



(play), (screenplay)
Nominated for 1 BAFTA Film Award. Another 2 wins & 6 nominations. See more awards »



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Cast overview, first billed only:
Old Gobbo
The Duke
Prince of Morocco


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. Written by <jhailey@hotmail.com>

Plot Summary | Add Synopsis


Drama | Romance

Motion Picture Rating (MPAA)

Rated R for some nudity | See all certifications »

Parents Guide:



Official Sites:

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Release Date:

18 February 2005 (USA)  »

Also Known As:

William Shakespeare's The Merchant of Venice  »

Filming Locations:



Box Office


$18,000,000 (estimated)

Opening Weekend:

£147,709 (United Kingdom), 5 December 2004, Limited Release

Opening Weekend USA:

$69,868, 2 January 2005, Limited Release

Gross USA:


Cumulative Worldwide Gross:

$32,000,000, 6 May 2016
See more on IMDbPro »

Company Credits

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Technical Specs


Sound Mix:


Aspect Ratio:

2.35 : 1
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Did You Know?


Director Michael Radford was required to cut the kiss between Antonio and Bassanio for the "Edited for Television" version of this film. See more »


When the Jews are carrying the Torah around the synagogue, the prayers and garb is appropriate. The Torah would only be taken out to be read. Traditional Jews only read Torah in the morning, when the light for reading would be best before the advent of artificial lighting. Therefore the Torah would not have been out at that time of day. See more »


[first lines]
Title Card: Intolerance of the Jews was a fact of 16th Century life even in Venice, the most powerful and liberal city state in Europe.
Title Card: By law the Jews were forced to live in the old walled foundry or 'Geto' area of the city. After sundown the gate was locked and guarded by Christians
Title Card: In the daytime any man leaving the ghetto had to wear a red hat to mark him as a Jew.
Man in Crowd: Usurer! Usurer!
Title Card: The Jews were forbidden to own property. So they practised usury, the lending of money at interest. This was ...
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Version of Whatever Next?: Episode #2.2 (1970) See more »


Last Words
Kanun [Qanun]: Jon Banks
Violin by David Juritz
Cello: Josephine Knight, Nick Cooper, Richard Tunnicliffe, Sophie Harris
Published By Shylock Ltd. / EMI Music Publishing Ltd.
© 2004 Decca Music Group Limited
(p) Jocelyn Pook Ltd. /2004 Decca Music Group Limited
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Frequently Asked Questions

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User Reviews

A Powerful and Intelligent Adaptation
31 January 2005 | by See all my reviews

The inherent problem with any staging of 'The Merchant of Venice' has never been the pseudo-controversial anti-Semitism, but the fact that there are two story lines wildly different in both tone and content; a frothy romantic comedy and a searing tragedy. While mixing genres was all the rage in the sixteenth century (and mocked by Shakespeare in Hamlet), it rarely fails to grate with modern audiences. As a result, most directors are forced to place an emphasis on one storyline at the expense of the other, and it is no surprise that the decision falls in the favour of Shylock.

Like so many of Shakespeare's great tragic heroes, Shylock continues to fascinate after 400 years because he is such a difficult and complex character. Pitiful, proud, angry, vengeful, weak, arrogant; his behaviour defies simply analysis and continues to be argued over. He is flawed not because he is a Jew, but because he is human. Rarely do modern screenwriters imbue their creations with such richly textured contradictions, and it is to everyone's benefit that we have Shakespeare to draw on for inspiration.

Shakespearean language is wild and rambling, saturated in multiple meanings, word play and metaphor. To be understood it must be wrangled and tamed by an actor with the strength and knowledge to do so. When an actor fails, the words pour forth in a torrent of incomprehensible words, but when he succeeds, the English language springs to life with an immediacy and vibrancy that takes your breath away. Al Pacino is one such actor, and here displays an incredible level of clarity and control that, were there any justice, would sweep every award in the offering. He meets the challenge of presenting Shylock head on, and delivers an extraordinarily subtle and nuanced performance. It would be a crime if we never got the opportunity to see what he does with King Lear.

The supporting cast is noteworthy. Jeremy Irons gives an original take on the familiar Antonio, presenting an older, quieter figure that displays the unsavoury contradictions between medieval chivalry and ugly prejudice of the time. Joseph Fiennes is a revelation as he matures beyond superficial eye-candy to actually inhabit a character for once. Lynn Collins is the only disappointment. Many of Shakespeare's women are underwritten and require an actor to really work hard to bring them to life, and Collins' Gwyneth Paltrow impersonation seems a little flat and unsuited to the darker tone that Radford is aiming for.

The design team must be acknowledged for creating a unique and thoroughly believable vision of Late Renaissance Venice. The city has not looked this ominous since 'Don't Look Now'. Taking full advantage of extant locations and natural light, the film has an appearance of authenticity that is greatly enhanced by the dark and timeworn costume design. All, again, are worthy of award recognition.

The financial backers of films such as this must be commended. With a budget of $30 million, they must go into such a venture in the full and certain knowledge that they will never make a profit, and yet they invest nonetheless. We can all be grateful for it, as the result is a remarkable adaptation that is sure to be a benchmark for many years to come.

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