In his first description of Portia, he describes her as " a lady richly left" (I.i.164) which to some indicates that he is solely focused on her money. However, one critic argues that his actions are fully justified under Elizabethan standards. They argue that it was natural for young gentlemen, such as Bassanio, at the time to marry for wealth since a large part of their identity was to be able to live a life of luxury. Additionally, some argue that this comment cannot be taken to mean his actual feelings since he is speaking to Antonio in order to obtain a loan to marry Portia. In contrast to the idea that he is a mercenary for solely focusing on Portia's money, some argue that he truly loves her for her beauty. Some scholars argue that Bassanio has a change of heart during his travels to Belmont saying that his confessions of love to Portia after the casket scene are truly what he feels. The first known performance of "The Merchant of Venice" was at the court of King James in 1605. Clifford Williams directed a 1965 production of the play that suggestion for the first time that there could be an implication of homosexuality between Antonio and Bassanio. In a 1987 production of the play directed by Bill Alexander, portrayed a very romantic relationship between Bassanio and Antonio in which they kiss at the end of scene I. At the Royal Shakespeare Company in 1997, a slight change is made to the character of Bassanio in which he spills out gold coins at the end of the trial scene which remain there for the entirety of the play reminding the audience of the underlying motivations of wealth. An early production of "The Merchant of Venice" was made in 1914 with Douglas Gerrard as Bassanio. In 1923 a German adaption of T"he Merchant of Venice" was made called the "Jew of Mestri" with Harry Liedtke as Bassanio. This adaptation attempts to make Shakespeare's play more similar to "Il Pecorone", one of the inspirations for "The Merchant of Venice," however, Bassanio's character is very similar to the Shakespeare version. One major difference is that in the film is that the characters in the German version have the same names as the Shakespeare characters, but in the American version the names are changed to the names in "Il Pecorone". For example, Bassanio's character in the American version is called Giannetto. In a 1947, a made for TV movie was produced by George More O'Ferrall where André Morell plays Bassanio.