 |
|
|
The Merchant of Venice is brought to
life by the evocative music of highly-acclaimed composer Jocelyn
Pook and the extraordinary voices of singing sensation Hayley Westenra
and counter-tenor Andreas Scholl.
Click here for more...
As one of Shakespeare’s most compelling
plays, the complexity of The Merchant of Venice has frequently
produced reluctance on the part of many directors and producers
to attempt to bring it to the screen. Navidi, producer, comments.
"Nobody’s ever made it. I believed audiences would be
interested in watching this movie, simply because after all these
years nobody has filmed this extraordinary play."
Click here for more...
16th Century Venice: Young nobleman Bassanio
(Fiennes) has asked his friend Antonio (Irons) to lend him money
in order that he might sail to Belmont and try for the hand of the
fair Portia (Collins).
Click here for more...
Click here...
Click here...
 
 
The Merchant of Venice is brought to
life by the evocative music of highly-acclaimed composer Jocelyn
Pook and the extraordinary voices of singing sensation Hayley Westenra
and counter-tenor Andreas Scholl.
Hayley Westenra sings the end title track to the film The Bridal
Ballad which Pook based on a text by Edgar Allan Poe.
The unique and sensual voice of Andreas Scholl features on two songs
on the album - With Wand'ring Steps and How Sweet The
Moonlight.
Their extraordinary voices combine beautifully with Pook's sensual
score; blending elements of Renaissance and Medieval music with
exotic Eastern beats and sweeping cinematic themes.
"When Michael Radford first approached me about writing the
music for his film The Merchant of Venice in the summer of
2003, a few months before shooting began, he felt strongly that
the score should have a contemporary feel to it as well as evoking
something of the period in which it is set, the late sixteenth century.
I have always been attracted to the spacious, uplifting quality
of early vocal music, and from time to time I have found influences
from medieval music creeping into my own compositions, sometimes
quite unexpectedly. So I began to immerse myself in renaissance
music, hoping that something of these influences might find their
way into the score I was about to write.
Sagbutt, cornett, krumhorn, serpent, theorbo, dulcimer, hurdy-gurdy,
lute; just the words are so evocative and give one lovely pictures.
Although I was familiar with some early music instruments, there
were many that I had never met properly before, and it was fascinating
finding out about them. I hadn’t realized the potential of
the expressive range of some of these instruments; for instance,
how the cornett can have a soft and subtle woody tone as well as
the more trumpet-like sound one expects.
At first I had to work quickly to provide music for certain scenes
in the film which needed to be shot to the music: in scenes with
court musicians playing or singing in vision. Some of these I based
on existing medieval or renaissance themes, others, including all
the vocal pieces (except Song in Brothel) I wrote myself,
setting them to various texts from the period, with the exception
of Bridal Ballad where I have used a text by Edgar Allan
Poe.
Several months later, after the shoot was finished and the first
edits were being assembled, I set about writing the main body of
the score. I had plenty of sources of inspiration: the rich and
atmospheric pictures I was given to work with, the vivid portrayal
and diversity of the characters and the powerful dramatic content.
My main concern was how to do these justice. I began to meet quite
frequently with Mike and Lucia Zucchetti (the editor), playing them
numerous sketches and discussing which were worth developing.
Witnessing the music being brought to life with the real instruments
and the incredible skill and musicianship of the players was such
an intense delight; to hear the cold, dull twangings of the synth
sounds on my demos transform into rich, rounded, three-dimensional
tones was just so thrilling and moving. Equally magical, of course,
was hearing the songs transform as the singers brought them to life."
Jocelyn Pook, September 2004
Andreas Scholl and Jocelyn Pook will be performing a medley from
the soundtrack at the Royal Premiere of the film in London on the
29th November 2004 which will be attended by HRH Prince Charles
and a galaxy of stars and will be in aid of The Prince's Trust.
www.themerchantofvenicemovie.com
www.themerchantofvenicemovie.co.uk
www.universalclassics.com
back to top
As one of Shakespeare’s most compelling
plays, the complexity of The Merchant of Venice has frequently
produced reluctance on the part of many directors and producers
to attempt to bring it to the screen. Navidi, producer, comments.
"Nobody’s ever made it. I believed audiences would be
interested in watching this movie, simply because after all these
years nobody has filmed this extraordinary play."
Navidi broached the subject with producer Cary Brokaw with whom
he was working on another film project. Brokaw, who had always been
fascinated by the play, loved the idea of pursuing a film adaptation
of it. Radford, Brokaw and Navidi were of a single mind as to how
to best approach the play. Their goal was to create a dynamic balance
between the plays’ tragic and comedic elements while keeping
the drama alive and accessible. Perhaps the most important decision
in adapting The Merchant of Venice was the question of who
would play the legendary and complex role of Shylock, one of Shakespeare’s
most memorable characters. Brokaw suggested Al Pacino with whom
he was working on Angels in America and Radford and Navidi were
again in full agreement. Brokaw explains. "Al and I had become
very friendly while working on Angels together. One day at lunch
I brought up the idea of filming The Merchant of Venice. Al said,
that’s really interesting, I just started to think I was finally
old enough to play Shylock. Like me, Al thought of Shylock as one
of the greatest roles of all Shakespearean characters."
The attachment of Pacino in the role of Shylock proved the production
was already attracting the beginnings of the high profile cast necessary
to elevate this project beyond the realms of yet another Shakespeare
adaptation. However in order to create the calibre of film the producers
were aiming for, they needed to ensure that the remainder of the
cast would be equally as comfortable with the Shakespearean words
as with their own individual characters throughout the complexity
of this text.
In counter-balance to the energy of Shylock, Jeremy Irons was cast
in the complex role of Antonio.
Alongside these two heavyweights of the acting profession, the production
was left to fill the other critical roles in the script.
Portia’s part is larger than Shylock’s in terms of number
of lines and so this was a critical role.
The initial casting started in the UK but Michael Radford wasn’t
excited about some of the English actors here and so the search
moved into the US and the name of Lynn Collins came up.
In fact this relatively unknown American actress became something
of a casting coup for the production. Michael Radford has nothing
but praise for her performance. "I think Lynn Collins is just
the best Shakespearean actress of her generation. She is just extraordinary.
She came in for a small role and that’s where casting was important,
when you see somebody come in and you realise they have an immense
ability." For Collins, who had started her acting career in
the role of Ophelia, the chance to play one of Shakespeare’s
most interesting heroines alongside some of the industry’s
greatest talents, was nothing short of an honour.
In comparison with the challenge of casting Portia it was almost
anti-climatic how easily the production cast the role of Bassanio.
As producer Brokaw remembers. "Joe Fiennes was our first and
only choice to play Bassanio from day one. From the first day of
rehearsal he delivered all colours you ever wished the character
could have."
The other roles slowly started to fall into place.
Director Radford was very certain how he wanted his Venice to appear
on the screen. "I tried to make it smelly and dirty. I don’t
like people appearing in neat, pristine costumes. People didn’t
wash a lot in those days and the place was smelly and dirty. I tried
to make the weather count, I tried to make the fact people travelled
by water all the time count."
The cinematographer has created a very mysterious, dark atmosphere,
kind of seedy, sexy Venice. Not bright and beautiful but dark, dank
and dirty.
Standing alongside the masterful filmmaking in creating 16th century
was the costume design by talented designer Sammy Sheldon who had
previously worked on a variety of period productions including Gladiator,
The Canterbury Tales and Plunkett and Macleane. In
this case, Radford did not want a strict depiction of costume during
the period but a rather more stylised overall look. She comments.
"English costumes of this period was very big and decorated
with triangular skirts but in Venice all through that century everything
is much sexier and softer, really the proper kind of renaissance
style. One of the big motivations for it was paintings, Mike liked
Sargeant paintings, the whole kind of feel, texture, the lighting
in it. They were used as a colour reference."
Altogether the production were creating a Venice that was real and
alive and vibrant, more approachable and comprehensible to an audience
in the 21st century whilst remaining true to the original spirit
of Shakespeare’s writing.
www.themerchantofvenicemovie.com
www.themerchantofvenicemovie.co.uk
www.universalclassics.com
back to top
16th Century Venice: Young nobleman Bassanio
(Fiennes) has asked his friend Antonio (Irons) to lend him money
in order that he might sail to Belmont and try for the hand of the
fair Portia (Collins).
However, Antonio’s money is all tied up in his business and
his ships are all away at various ports. There is nothing they can
do but seek out the Jewish moneylender, Shylock (Pacino). Shylock
is resentful towards Antonio, as it was he who spat at him earlier
in the market. In fact Shylock is all too well aware of the contempt
all the Christians have for him and his Jewish brethren. What Antonio
is proposing, however, is a business transaction, nothing more.
Shylock is persuaded but not before he enacts a condition of his
own. If Antonio defaults on the loan, then Shylock will take a pound
of his flesh as payment. It is a harsh bargain but Antonio is certain
he will have no trouble paying him the money and so agrees. He further
invites Shylock, in the spirit of an amicable relationship, to dine
with him later that night. Reluctantly Shylock agrees.
What Shylock does not know is that his daughter Jessica (Robinson)
has fallen in love with the Christian nobleman Lorenzo (Cox). Shylock
has already lost his servant Gobbo (Crook) to Bassanio and has no
compassion left for the Christians. While Shylock is out at dinner,
under the cover of darkness and masks, Lorenzo along with friends
Bassanio and Gratiano (Marshall) steal away Jessica from her father’s
house. Jessica also takes his hoard of money to help her in her
new life. Lorenzo and Jessica then set sail for Belmont and the
home of Portia.
Meanwhile at Belmont, Portia is dismayed by the ever increasing
numbers of suitors. All are lacking in one way or another but the
terms of her father’s will mean that whoever chooses the correct
casket will win her heart and her fortune. She is relieved that
none have so far triumphed. Then Bassanio and his party arrive.
She is instantly struck by his good looks and begins to hope that
here she will gain a husband. It is that same instance that Gratiano
catches sight of Portia’s maid, Nerissa (Goldenhersh) and another
potential love alliance is formed.
Bassanio wastes no time in making the choice and when he chooses
the lead casket, he also wins the girl. Everyone is thrilled and
a huge marriage feast is planned. Drinking and merrymaking abound
until news comes from Venice that Antonio has lost all his ships,
all his money and now forfeits his loan and his life to Shylock.
Bassanio must return to Venice to try to save his friend. Portia
entreats him to take double the money Antonio owes in a bid to stave
off Shylock’s forfeit. Reluctantly he leaves with Gratiano.
Shylock meanwhile has gone quietly mad from the loss of both his
daughter and his ducats (money). Further he hears rumours of his
daughter’s terrible conduct and not even his faithful Tubal
(Corduner) can now contain him. Now obsessed, Shylock will not accept
anything but his pound of flesh. He shall have his bond no matter
what.
As Antonio’s trial unfolds, it seems Antonio is doomed until
a wise young doctor mysteriously arrives. Surprisingly young, he
and his clerk argue the case from both sides. At first it appears
that they will allow Shylock his bond but then there is a change.
He can take the flesh but he is not allowed anything else, no blood,
no sinew, no muscle. He must also take exactly one pound, no more,
no less. It is an impossible task to fulfil. It is clear that Shylock
has lost and not only has he failed in this but the court now seeks
its own form of justice on the man who would show no mercy to his
enemy. Shylock is forced to give up half his money and the rest
is to go to his daughter on his death, furthermore, and most cruelly
he is forced to give up his religion and become that most hated
of all things, a Christian. It is indeed a heavy punishment.
Meanwhile Bassanio is overwhelmed with thanks for the doctor’s
actions. He promises him anything. The doctor asks for his ring,
the ring Portia gave him, that she bid him never remove. He is extremely
reluctant but he owes him such a debt of gratitude that he cannot
refuse. The clerk takes Gratiano’s ring for his payment.
So they all return to Belmont, along with Antonio. But more revelations
are to come. When both Bassanio and Gratiano are questioned by their
wives, as to the presence of their rings, they are forced to reply
that they gave them away. Shockingly Portia and Nerissa then reveal
the truth, that they had disguised themselves as the doctor and
his clerk and they had saved the life of Antonio. Suitably chastised
by their wives, the couples retire leaving Antonio to contemplate
his life, once more, alone. And Jessica struggles with her feelings
for the father she has abandoned.
www.themerchantofvenicemovie.com
www.themerchantofvenicemovie.co.uk
www.universalclassics.com
back to top
1 With Wand’ring Steps
feat. Andreas Scholl
2 Her Gentle Spirit
3 Ghetto
4 Blessing Of The Boat
5 Synagogue Cantors
6 Portia
7 How Sweet The Moonlight
feat. Andreas Scholl
8 Song For Bassanio
9 The Feast (Propiñan de Melyor)
10 Bassanio's Palazzo (Tarantella)
11 The Ring Returned
12 A Subdued Wedding
13 Courtroom Drama
14 Jessica Escapes
15 Bridal Ballad
feat. Hayley Westenra
16 Banquet For Shylock (Tourdion)
17 Unsuitable Suitors (Folias)
18 Song In Brothel (“Paseábase el Rey Moro”)
19 A Spectacular Procession
20 Fie Fie Gratiano
21 Bassanio Opens The Casket
22 Shylock Broken
23 Last Words
24 The Floor Of Heaven
25 You Drop Manna
26 With Wand’ring Steps (recorder version)
feat. Andreas Scholl
back to top
Shylock Al Pacino
Antonio Jeremy Irons
Bassanio Joseph Fiennes
Portia Lynn Collins
Jessica Zuleikha Robinson
Gratiano Kris Marshall
Lorenzo Charlie Cox
Nerissa Heather Goldenhersh
Lancelot Gobbo Mackenzie Crook
Salerio John Sessions
Directed by Michael Radford
Music by Jocelyn Pook
Screenplay by Michael Radford
Produced by Cary Brokaw, Barry Navidi, Jason Piette, Michael Lionello
Cowen
www.themerchantofvenicemovie.com
www.themerchantofvenicemovie.co.uk
www.universalclassics.com
back to top
|
|
|
