Joan Plowright seems too old for Portia, but she delivers
a good performance anyway, as you’d expect. Anna Carteret is also quite good as
Nerissa, full of wit and playfulness. Because of this production’s more modern
setting, Nerissa is able to show photographs of the suitors to Portia, and
about these photographs they share a laugh. It’s a wonderful moment, and a
delightful scene. I particularly like Joan Plowright’s delivery of the line
when she first recalls Bassanio too fondly, then catches herself.
Laurence Olivier is, as I mentioned, excellent in the
role of Shylock. Even the way he plays with the word “well” after “Antonio is to
become bound” is wonderful. And his delivery of “I will be assured I may” is
pointedly full of meaning. Antonio is an older man, which gives more humor to
his “O, fie” in response to the suggestion that he’s in love. Having an older
Antonio also creates a wonderful connection between him and Shylock, two men of
an age, and when we first see the two together, they are dressed in similar
fashion, both with black top hats (Shylock’s over his yarmulke). It creates an
intriguing image of similarities between the men who will become adversaries.
The caskets in this production are on a turning platform,
which is an interesting choice. Morocco turns in a humorous and appropriately
goofy performance. I particularly love the moment when he approaches Portia,
asking what would happen if he stopped and chose the silver one, like he’s
hoping for some hint from her. I’m glad to see the comedic moments early on in
this production, because without them, the fifth act can’t work at all. The
second suitor, the Prince of Arragon, is an elderly man, which amuses Nerissa.
There’s a funny moment when he delivers a speech, and Portia and Nerissa sip
tea in the deep background, clearly not caring to give ear to any speech this
old man might give. There is some funny, playful business with sugar cubes. And
because he’s old, he nearly inserts the key in the lead casket rather than his
chosen silver, but for Nerissa quickly turning the platform. This entire scene
is wonderful, and you actually feel for the old guy at the end when he asks
honestly, even a bit sadly, “Did I deserve no more than a fool’s head?”
And of course we feel for Shylock at moments in this
production. Like in the first scene of Act III, when he’s upset about Jessica’s
flight, we side with him, particularly because of the way Salarino and Salanio
speak to him, without a trace of pity or kindness. It makes his anger much more
understandable. And it is only then that Shylock decides to call in the forfeit
of Antonio’s bond, an excellent moment. We can see it all on Laurence Olivier’s
face, as he turns his pain and anger toward Antonio. What a great performance.
And that’s before he delivers that famous speech (“Hath not a Jew eyes…”). His
scene with Tubal is likewise excellent.
The centerpiece, of course, is the courtroom scene, which
is handled really well. I love Laurence Olivier’s delivery of “No, none that
thou hast wit enough to make.” Both Nerissa and Portia do a good job disguised
as men. There is an excellent tension to this scene. And a moment is allowed
after Shylock’s exit, where we see other characters’ reactions. Particularly
intriguing is Portia’s, as she seems to have sympathy and perhaps even a bit of
regret. And then I love that Portia slaps Bassanio on the shoulder when she
says, “I pray you, know me when we meet again.” Is she upset that he didn’t
recognize her?
This production of The Merchant Of Venice was
directed for television by John Sichel. The DVD was released on May 17, 2016
through Shout! Factory. It contains no special features.
(Note: For serious Shakespeare fans, I posted a
scene-by-scene review of this production on my Shakespeare blog, Mostly
Shakespeare. Just be aware that it contains spoilers for those unfamiliar with
the play.)
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