In a multiplex world of instant cinema gratification, you'll always wonder how an adaptation using Shakespeare's original dialogue will play.

Most recently Kenneth Branagh showed you can be both loyal to the source material while putting together a popular version of England's most revered playwright.

Now Michael Radford, who is best known for the Oscar-winning drama Il Postino, has brought a ravishingly-styled version of The Merchant Of Venice to the big screen.

The key piece of casting is Al Pacino as doomed Jewish moneylender Shylock, a role the Hollywood veteran invests with sympathy tempered by a grinding sense of injustice.

Other key parts go to Jeremy Irons as Antonio, the Venetian merchant whose hefty loan from Shylock is secured by a literal "pound of flesh" - even the high street banks would baulk at those terms.

Joseph Fiennes is the lovelorn but skint nobleman Bassanio, for whom Antonio gets into hock so his friend can pursue the hand of Portia (Collins). A host of British actors - The Office's Mackenzie Crook as Lancelot, John Sessions as Salerio and Gregor Fisher as Solanio - bring a richness and depth even as minor characters.

Themes of anti-semitism, racism and sexism are skilfully worked and the narrative is thankfully free of any politically correct tinkering - although the treatment of Shylock is uncomfortable viewing.

Pacino lends the conflicted role a tangible sense of embittered desperation, while Irons is the best he's been for some time as the essentially decent product of anti-semitic times.

The Shakespearean dialogue - normally a major challenge to audiences weaned on Hollywood's focus-group driven banality - isn't a problem with a little effort.

It's not all mist-shrouded doom and gloom - Crook and Kris Marshall as Gratiano bring welcome comic relief and prescient Will also has a pop at those ancient butts of humour, the bagpipes and English dress sense.

And there's no trickery - Radford opts for a straightforward adaptation that allows the dialogue to sing and the characters to emerge fully formed.

Those put off Shakespeare thanks to A-Level cramming while at school, might want to revisit the Bard to see what they're missing.

All's well that ends well, as you might say.

Tim Evans