Sonnet #95
- Episode aired Mar 25, 2015
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1.98: Sonnet #95: The design is good, but it is Heyward's convincing and active performance that sells the text and the idea
Following on from the extended narrative of the previous film, sonnet 95 also takes the dialogue and expands it into a bigger scene than the one we see – using the dialogue as part of it. In this film we see a young woman waiting out in the rain when she sees her man approaching, but tied up in the affections of someone else. This fits with the tone of the sonnet, which warns the subject that the good points will not conceal the bad forever – even if they currently do. This is a nice update as it gives us a cheating man and scorned woman – both clear characters in the piece.
In terms of fitting the words into the scene, essentially it is a delivery of the text, however it is much more of a performance in the context of the scenario, which I always enjoy compared to the ones where it feels like a much more straight to-camera delivery of the text. Susan Heyward is the central actress and she does a great job with it; she is nervous, scorned, hurt, outraged, and angry – and gets all of this into her body and eyes as well as into the words. While the film is her delivering text, she brings the words to life in the film and really makes it work.
The design of the short is kind of in the 1920's but also modern times in terms of design; no reason for this it seems, although the black/white cinematography maybe buys it some forgiveness in the shooting. The sound is not too bad, but is not good either – I don't think it got the mix right, and at times the words are hard to hear. It does look good though, and I liked the movement of the characters and the feel of the wet, grey night within the film. After a run of "okay" shorts, this film and the previous one seem to be more on the right track – thanks here to a stylish delivery, a good reading of the text, and a strong performance from Heyward.
In terms of fitting the words into the scene, essentially it is a delivery of the text, however it is much more of a performance in the context of the scenario, which I always enjoy compared to the ones where it feels like a much more straight to-camera delivery of the text. Susan Heyward is the central actress and she does a great job with it; she is nervous, scorned, hurt, outraged, and angry – and gets all of this into her body and eyes as well as into the words. While the film is her delivering text, she brings the words to life in the film and really makes it work.
The design of the short is kind of in the 1920's but also modern times in terms of design; no reason for this it seems, although the black/white cinematography maybe buys it some forgiveness in the shooting. The sound is not too bad, but is not good either – I don't think it got the mix right, and at times the words are hard to hear. It does look good though, and I liked the movement of the characters and the feel of the wet, grey night within the film. After a run of "okay" shorts, this film and the previous one seem to be more on the right track – thanks here to a stylish delivery, a good reading of the text, and a strong performance from Heyward.
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- bob the moo
- Mar 29, 2015
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