
Bassanio loves heiress Portia, and to help his friend the merchant Antonio hesitatingly borrows money from Jewish money lender Shylock. The deal: If Antonio can't repay the debt Shylock may cut a pound of meat out of Antonio's body.

body{background-color:#000;color:#fff;font-family:Georgia,serif;line-height:1.6;margin:0;padding:20px;} .highlight{color:#EAB308;font-weight:bold;} .accent{color:#C2410C;} .cool{color:#0E7490;} When the black‑and‑white frames of Der Kaufmann von Venedig flicker to life, the viewer is thrust into a Venice that feels bot...

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Comparing the cinematic DNA and archive impact of two defining moments in cult history.

Peter Paul Felner

Bruno Ziener
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"body{background-color:#000;color:#fff;font-family:Georgia,serif;line-height:1.6;margin:0;padding:20px;} .highlight{color:#EAB308;font-weight:bold;} .accent{color:#C2410C;} .cool{color:#0E7490;} When the black‑and‑white frames of Der Kaufmann von Venedig flicker to life, the viewer is thrust into a Venice that feels both mythic and palpably real, a city of canals and contracts where love and law intersect in a precarious dance. The film opens with Bassanio (Harry Liedtke), a dashing yet financial..."
Pietro Aretino, Giovanni Fiorentino, William Shakespeare, Peter Paul Felner
Germany

1933 · IMDb 6.9


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