The lighting and sets give this film such a realistic feeling like you are actually in the story experiencing what the characters are too. The sets are so detailed and filled with extras making it feel like an actual location. In Nunn’s adaptation of The Merchant of Venice, there are few people on screen at once which is very unrealistic in a normal city. The lighting in Radford’s film version is bright and makes the colors of the costumes pop while the lighting in Nunn’s film is darker and more desaturated than normal. The angles used in Radford’s film show pores on the actors faces which make it seem so close and natural. The angles are usually farther away in Nunn’s film are farther away giving a feeling of being unconnected to what’s happening on screen. Lastly, Nunn’s sets are stage-like and fake feeling which is the complete opposite of Radford’s sets and actual locations used to film
The lighting and sets give this film such a realistic feeling like you are actually in the story experiencing what the characters are too. The sets are so detailed and filled with extras making it feel like an actual location. In Nunn’s adaptation of The Merchant of Venice, there are few people on screen at once which is very unrealistic in a normal city. The lighting in Radford’s film version is bright and makes the colors of the costumes pop while the lighting in Nunn’s film is darker and more desaturated than normal. The angles used in Radford’s film show pores on the actors faces which make it seem so close and natural. The angles are usually farther away in Nunn’s film are farther away giving a feeling of being unconnected to what’s happening on screen. Lastly, Nunn’s sets are stage-like and fake feeling which is the complete opposite of Radford’s sets and actual locations used to film