Shakespeare’s The Merchant of Venice is not usually thought of as one of his more mythically resonant plays (aside from the Belmont casket scene), yet it is ultimately based on prevailing contemporary Christian myths about Jews and the way these myths defined Christians’ beliefs about themselves. This paper examines film director Michael Radford’s masterful use of myths and symbolism in his production of this play. Includes a reproduction of a painting which Radford duplicates in the final scene of the film, resolving the multiple themes of the play.

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