Analysis Of Film Production Of The Merchant Of Venice

Making a movie to be watch worthy for a good book is almost rare. Nevertheless, it is common to hear those who like reading to pries a movie, which made based on a book that they read. Yet, when it comes to William Shakespeare, it is different because the plies that he wrote are just a ready script for acting. Julius Caesar is one of Shakespeare’s most famous plays because of many reasons and one of them is that the real story was a critical point in history. In fact, the play reflects an actual occasion of Shakespeare’s time and that is one way this great writer express the concerns of the people about the succession, as Professor of English literature at University of St. Thomas, Ann Bradley says. In this essay, I will examine some of the

The purpose of this report is to compare and contrast two movies made about Hamlet. I will present and discuss different aspects of the version directed by Kenneth Branagh to that of Franco Zefirelli. During this paper you will be presented with my opinions in reference to determining which version of Hamlet best reflects the original text by Shakespeare. I will end this paper with my belief and explanation of which movie is true to the original play.

To play one of Shakespeare’s most complex roles successfully on stage or on screen has been the aspiration of many actors. William Shakespeare’s Hamlet has been the focus on various accounts throughout the 20th Century, each actor attempting to bring something unique and unmarked to the focal character. Franco Zeffirelli and Kenneth Branagh, both film directors, introduce varying levels of success on the screen through downright differences in ways of translation and original ideas. Zeffirelli’s much shorter interpretation of the film is able to convey the importance of Hamlet as a masterwork by using modern approaches to film but still capturing the traditional work behind Shakespeare’s well-known play.

Shakespeare's tragedy, Macbeth, is a play that transcends time due to its timeless and universal themes. The themes presented in this play are just as relevant to modern audiences as they would have been to contemporary Elizabethan audiences. The play has been able to maintain its textual integrity, withstanding the fact that it is now performed out of its original context to remain a successful play for modern audiences. The issues of heroism, abuse of power and the deceptiveness of appearances are all key within the play, conveyed through the use of dramatic and literary techniques, are issues which still resonate with contemporary audiences. Shakespeare has tested the parameters of the conventional tragedy that was extremely popular during his lifetime and in doing so has created text, which is still relevant today.

The merchant of Venice is a drama and romantic play, by William Shakespeare. Regarding the test for the suitors and the final part of the book, the author is inspired by a fourteenth-century Italian novel of Giovanni Fiorentino, called “Il Giannetto”, (Bullough, 1957). The merchant of Venice is believed to have been written between 1596 and 1598. It is contained on the First Folio, in the contents of Comedies, sharing certain aspects with others plays. That one traditionally ends with the positive return to order expected from the genre, it also has some characteristics of a tragedy, in particular with regard to the punishment and the oppression that are suffered to Shylock Jew. The peculiarity is the title of this book, “The Merchant of Venice”, in fact, it refers to the character Antonio, and not Shylock, a moneylender, which has a pivotal role in this play. One possible reason is that by calling “The Merchant of Venice”, Shakespeare wanted to focus the attention of the readers, on the

Geoffrey Sax’s modern-day appropriation of the Shakespeare’s 2001 Othello is a chariot which transcends time and updates the theme of appearance and reality and the power of language to give meaning to these themes in modern times. Iago’s deceptive nature and his “two faced” personality are the building blocks which shows us the difference between how the world looks and what happens behind the scenes. Both Geoffrey Sax and Andrew Davies have created a film with the ability to take Shakespeare’s ideas relevant in 1601 and allow them to be relevant in the modern age.

Oliver Parker’s 1995 interpretation of Shakespeare’s 1600’s timeless classic Othello presents a differing construction of Othello from the original play, achieved through uses of a plethora of film devices. Both the play and the film masterfully spin a tale of romance, tragedy and death telling the fall of glory of Othello due to the acts of his ensign Iago, albeit with several differences in the presentation. Both Shakespeare and Parker explore themes of jealousy, power, and racism through the key characters of Othello and Iago. Parker utilises cutting, close-ups, mise-en-scene, music and a variety of others to bring his own in-depth dissection and construction of Othello.

The New World Encyclopedia includes a lengthy and extensive section on Romeo & Juliet with a copious amount of information or aspects pertaining to the play. In one part, it examines the film adaptations of Romeo & Juliet and discusses the thought process when trying to adapt Shakespeare’s works cinematically. The end of the fourth act being a major focus. This material will help further my understanding and argument of the sacrifices that need to be made to have Shakespearean plays effective on the big screen; especially for modern audiences.

Over the course of the past fifty years there have been many cinematic productions of Shakespeare’s Hamlet, some of which remain true to the text while others take greater liberties with the original format. Director Kenneth Branagh’s 1996 production of Hamlet was true to Shakespeare’s work in that the film’s dialogue was delivered word or word as it is presented in the text. In contrast, Franco Zeffirelli conducted his 1990 production of Hamlet in a much more liberal direction in which lines, scenes and characters were omitted from the film. I argue that from the perspective of an individual with moderate knowledge in Shakespearian literature, that the best film versions of Hamlet are those that take the most liberties from the text. I

In William Shakespeare’s Hamlet there are many unanswered questions such as if Hamlet is really mad or if it is just an act. There are many film adaptations which use their movie elements in order to hint towards the answer of these questions. In Gregory Doran’s film interpretation Hamlet starring David Tennant, David Tennant truly shows the raw emotions of Hamlet. He shows how Hamlet feels through his movements and facial expressions. These little things allow the viewer to see the true meaning and intention behind Hamlet’s words.

Shakespeare’s Hamlet has countlessly been formatted into film depictions of the play. Each film seemed to be on one end of the spectrum of either being closely interpreted or completely remodeled a different idea of what Hamlet is. The film version of Hamlet released in 2000 seems to follow closely to the play in some aspects, yet at the same time having its own unique identity Despite there being many differences with the play Hamlet and the film adaptation of Hamlet (2000) by Michael Almereyda there are three categories that really stand out, those are the character portrayal, interrelationship between the characters, and some of the essential themes differ as well. Although there are many differences, one aspect that remains the same is the dialogue of the characters which stays true to the Shakespearean dialect.

Looking into Shakespeare’s work, the class and I got to view “The Merchant of Venice”. I

Literary devices are frequently used throughout acts four and five of Shakespeare’s The Merchant of Venice. Some of the most prominent devices used on TMOF are dramatic irony, allusion and symbolism. These devices help further develop theme ingrained in the story such as marriage, deceive, wealth, and religion. The use of literary devices helps ensure the story transitions smoothly and is pleasant to the reader, it might also help in the comprehension of the story´s characters.

William Shakespeare’s The Merchant of Venice is a perplexing story of dark humor, race, religion, identity, love, and justice. Generally, most people understand The Merchant of Venice as a comedy about a bitter and outcasted Jewish moneylender named Shylock who seeks revenge against a Christian merchant who has failed to pay his loan back. However, there are many different perspectives on whether The Merchant of Venice is a comedy or a tragedy depending on one’s views on the difference between race and religion. If one views the story as a comedy, it is a dark comedy full of many problems, especially the controversial subject matter of anti-Semitic attitudes of its Christian characters. If one views it as a tragedy, it is a tragedy that concludes with majority of its characters in a “happy ending”—that is if one agrees that Jessica’s decision of love over betraying her father and giving up her Jewish identity is indeed a happy ending.

The Merchant Of Venice is structured partly on the contrast between idealistic and realistic opinions about society and relationships. The play tells us mercy is preferable to revenge. Shylock chose revenge over mercy against Antonio and how his choices affected him. The Court of Venice begging mercy of Shylock. Finally, Portia forgiving Bassanio for giving away his wedding band.