Venice, 1596. Bassanio begs his friend Antonio, a prosperous merchant, to lend him a large sum of money so that he can woo Portia, a very wealthy heiress; but Antonio has invested his fortune abroad, so they turn to Shylock, a Jewish moneylender, and ask him for a loan.
Venice, 1596. Bassanio begs his friend Antonio, a prosperous merchant, to lend him a large sum of money so that he can woo Portia, a very wealthy heiress; but Antonio has invested his fortune abroad, so they turn to Shylock, a Jewish moneylender, and ask him for a loan.
The film's central focus on systemic religious prejudice and the dehumanization of a minority group aligns with progressive values, fostering empathy for the victim of societal injustice.
The movie features traditional casting without explicit race or gender swaps for its main roles. However, its narrative strongly critiques the prejudice and unjust treatment of a minority character by the dominant traditional identities, making themes of discrimination central to the story.
The film portrays the dominant Christian society as hypocritical and cruel, using their faith to justify severe antisemitism and the persecution of Shylock. The narrative exposes the moral failings of these characters, particularly in their lack of mercy and their forced conversion of Shylock.
The film portrays Judaism primarily through Shylock, highlighting the severe persecution and systemic anti-Semitism he endures. While Shylock's actions are complex, the narrative consistently frames him as a victim, positioning the audience to sympathize with his suffering and condemn the bigotry directed against his religion.
The film, an adaptation of Shakespeare's play, does not feature any explicit LGBTQ+ characters or themes. The narrative focuses on themes of justice, mercy, prejudice, and romantic love without engaging with queer identities or experiences.
The movie does not contain any action or adventure elements.
The 2004 film is a direct adaptation of Shakespeare's play. All major characters, including Antonio, Portia, and Shylock, maintain their canonical genders from the original source material. Instances of gender disguise within the plot do not count as gender swaps.
The film adapts Shakespeare's play without altering the established race of any major character. Characters like Shylock and Portia are portrayed by actors whose race aligns with the source material's implied European context. The Prince of Morocco, explicitly non-white in the play, is also portrayed as such.
Combines user and critic ratings from four sources