Alternate Best Supporting Actor 2004: Al Pacino in The Merchant of Venice

Al Pacino did not receive an Oscar nomination for portraying Shylock in The Merchant of Venice. 

Merchant of Venice follows theoretical Shakespeare comedic romantic antics while a much darker story is going on in the background. 

This film marks the first and still only full cinematic representation of Al Pacino’s training and passion as a Shakespearean actor. Previously getting a doc with scenes version in his self-directed Looking For Richard, but here we get the full force of Pacino’s Shakespearean powers and he does not disappoint. Although now for the darker elements of the film where essentially Shylock is an antisemitic stereotype of the Jewish moneylender, the villain of the piece who must be dealt with at some time while the rest of the story is going along. This version specifically attempts to rework this idea, something I wouldn’t say works entirely in terms of the film as a singular package, by providing additional historical context and creating a sympathetic background for Shylock. The additional opening scenes were particularly important for Pacino and this depiction of the character, as we see him visually spat upon by Antonio (Jeremy Irons), rather than just referred to, a former Jewish man. Pacino portrays in these silent moments a man quietly giving his devotion to his faith, and taking in the mistreatment from Antonio with grace, yet his eyes are not of a man forgetting the injustice. An idea is to return to where we see Bassanio (Joseph Fiennes) seeking money for a trip, a mutual acquaintance of both men. Pacino thrives with the words of the Bard, with a precision but also an ease. They just flow from him so articulately in a way that speaks to his version of the character of Shylock, finds a certain music to them, but also most importantly makes them comprehensible and captivating. 

Pacino’s performance really is rather remarkable because in this career there became a sort of expected Al Pacino type performance, which weren’t necessarily bad but were part of his later career kind of “star persona” he developed essentially as offshoots of his Oscar winning performance. Pacino in this film however fully evokes classic actor driven Pacino in his realization and real devotion to the part of Shylock. He is dialed in and his delivery of the language is part of that, but a natural tool that is the potent realization of the character of Shylock. A character Pacino realizes far beyond that of just a villain as you could easily argue was the way Shakespeare designed him. Pacino is incredible in the scene of getting Antonio to fund Bassanio with the promise of a “pound of flesh” from Antonio to Shylock if it is not paid. Pacino’s working on multiple levels and very much takes the moment far beyond a villain making a strange request. Rather what Pacino does in his delivery is throw it out as pure business, yet in his eyes and manner there is a decisive pressing of Antonio. Within Pacino’s performance you see his disgust for the man, and the very unusual debt and payoff Pacino issues in his eyes as the challenge from Shylock to see Antonio suffer. Suffer specifically though for the wrongs that the man had inflicted upon him. 

Pacino consistently comes against each scene of his to create an empathetic state for Shylock. We see this as he exists in his home and gives instruction to his daughter Jessica, while essentially trying to defend his Jewish home. A speech that could be of a self-enclosed villain in his place, only concerned about money, yet Pacino finds his own avenue quite notably. Pacino brings this exhaustion in every statement to defend himself and his life. Finding a man burdened by society essentially being against him and just trying to exist within his faith to the extent he can. Pacino grants motivation and life to the character as we follow him into the process of demanding the pound of flesh from Antonio within his monologue for insisting on collecting the debt, a monologue where perhaps you can make the best case for defending Shakespeare’s own work by at least granting some humanity to the character. Pacino more than runs with this amount as he is genuinely heartbreaking in the passion he brings to describe the commonalities between a Jewish person and a Christian. Pacino finding more than just anger towards the notion of othering a Jewish person, as there is the sense of the years of pain in the man, the torture to his soul, and even in his rage, it is a rage filled with real human plight of a man who has been mistreated all his life. It is a stellar moment as Pacino is gripping with every word and is one of the great Shakespearean speeches caught on film and delivered by Pacino. 

In the actual trial to determine the fate of Antonio and whether or not Shylock will receive his pound of flesh, Pacino is amazing. Pacino once more not taking it as a villain, despite the ridiculous violent request of his, yet he manages to bring a specific pent of anger within the scene. An anger that again has the personal disdain for Antonio but within the words of challenge against the city, Pacino’s performance is simply incredible as there is the sense in his man’s eyes his challenge of calling out essentially the injustice of all of society. Pacino is marvelous as in a way giving a greater version of his “you’re out of order” speech, as he calls out the society’s use of slaves with such distinct disdain, and his announcement that his debt is “mine”, isn’t of a man of greed, it is a man filled with dissatisfaction for the world he lives in. Shylock’s demands are stopped by some hidden disguises and logic of a pound of flesh but without blood, and if that were not enough he is also charged with intention to murder. A crime that leads him to lose half of his wealth and almost his life. Shylock is spared these punishments though with the requirement from Antonio that he convert to Christianity. Pacino is heartbreaking his physical work as you see the floor fall beneath his feet, the man barely being able to hold his constitution together, his face filled with such sickening distress, and expresses the violent loss of Shylock's self by forcing him to deny his own religion. Pacino delivers a truly great performance, that is so unique within his filmography. Excelling with Shakespeare, but also within his own work, I'd say the film overall is less successful, in morphing Shylock from a villain to a tragic figure of a man so defeated by the cruel society he lives in that vengeance becomes the only hope he can grasp onto.