'The Merchant Of Venice' (R) 
(out of four popcorns)
In "The Merchant of Venice," it is the 16th century, and even in the modern city of Venice Jews are considered second-class citizens. They are locked away at night in their own geto, and when they are allowed out during the day they are required to wear a red hat so others can recognize them as part of a lower caste.
Christians spit on the Jews' business of usury -- charging interest on a loan -- until they need to borrow a tidy sum. This is where Bassanio (Joseph Fiennes) and Antonio (Jeremy Irons) find themselves as we begin the Shakespearean tale of "The Merchant of Venice."
Bassanio is in desperate need of funds to prove himself worthy of the lovely and well-born Portia (Lynn Collins). He and Antonio meet with Shylock (Al Pacino), a well-known Jewish money lender. They think it is just business, but Shylock has suffered great humiliation and abuse at the hands of Christians and this business transaction represents an opportunity to have the upper hand. Shylock agrees to lend Bassanio the money, with Antonio's assurance of payment. However, Shylock does not want interest on the loan. If the debt is not paid on time, Shylock will exact a much more painful and personal fee from Antonio.
Shakespeare is always a tricky gamble, especially with a tragedy where comic relief is not available for those people who are uncomfortable with the language. But in some ways, the timing has never been better to bring this classic to the screen. The themes of distrust and fear of people who are not like you has become more sharply etched in people around the world since the tragedy of 9/11.
Michael Radford's "The Merchant of Venice" does not let the audience off easy, but it is a fully satisfying production with a stunning climax that makes you hold your breath in fear and anticipation.
The veteran actors -- Pacino and Irons -- are like two seasoned and vigorous lions stalking each other and defending their territories. Pacino, in particular, is magnificent in a role that is often portrayed as a buffoon. Pacino lends Shylock a dignity and indignation that comes from the character's core beliefs.
Irons' world-weariness, and his character's obvious adoration of Bassanio, is a symphony of subtlety.
Unfortunately, Fiennes is not convincing as an optimistic young pup in the throes of passion for his true love. Fiennes' brooding petulance, with a hint of perverse glee, is unappealing and off-putting. It is hard to understand why both Antonio and Portia are so enamored by him that they would risk their very lives and reputations.
"The Merchant of Venice" is a handsomely mounted production with an atmosphere so thick you can just drink it in.
If you want to see two master actors at the top of their game in one of the Bard's most famous works, don't miss "The Merchant of Venice."
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