Sonnet #90
- Episode aired Jun 30, 2013
- 2m
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S1.18: Sonnet #90: Nicely done but the camera feels like it is in a rush
This sonnet sees the poet demanding of his love that they not wait until all other disasters have befallen him before they abandon him – if indeed they will. Instead, he writes, they should clear out at the slightest hint of trouble so at least he can experience the worst of disasters early in the cycle and not have this occur when he thinks it cannot get any worse. Accordingly the film sees us overhearing a discussion between a young couple as they meet up at Columbus Circle.
Although it is shaky and seems to shoot the location for the sake of showing us it, I liked the feeling that we were walking by and stumbled into overhearing the tiff of two young lovers. In fact I liked the feeling so much that I wish it had been done better – perhaps even to put two other characters into the position of actually stopping to listen (much like another of the films did with bystanders filming a confrontation on their phones). It doesn't do this but it still works as an idea as the text does feel like it is coming in halfway through something. We watch the scene over the shoulder of the partner as the other talks. This is Mills and his delivery is really good, hitting the words well and bringing the text to life as something that is actually being said and felt as opposed to old words on a page. His partner Shattner is reduced to mostly just sitting there although there is one bit of performance in the middle which Mills works off well.
When the scene finishes the camera spirals off into nowhere in a really odd fashion and I wasn't sure why this was the only thing it could do as it seemed rushed, sudden and unnatural – again if the "passersby" thing had been better done, we could have continued on our way with them which, although I guess that is what the film is trying to do here, it doesn't work as it just suddenly jerks away to nothing then fades quickly to credits – what is the hurry?! Despite this though, the context is good and the text is well delivered by Mills, with modern feeling giving the words a sense of truth and reality.
Although it is shaky and seems to shoot the location for the sake of showing us it, I liked the feeling that we were walking by and stumbled into overhearing the tiff of two young lovers. In fact I liked the feeling so much that I wish it had been done better – perhaps even to put two other characters into the position of actually stopping to listen (much like another of the films did with bystanders filming a confrontation on their phones). It doesn't do this but it still works as an idea as the text does feel like it is coming in halfway through something. We watch the scene over the shoulder of the partner as the other talks. This is Mills and his delivery is really good, hitting the words well and bringing the text to life as something that is actually being said and felt as opposed to old words on a page. His partner Shattner is reduced to mostly just sitting there although there is one bit of performance in the middle which Mills works off well.
When the scene finishes the camera spirals off into nowhere in a really odd fashion and I wasn't sure why this was the only thing it could do as it seemed rushed, sudden and unnatural – again if the "passersby" thing had been better done, we could have continued on our way with them which, although I guess that is what the film is trying to do here, it doesn't work as it just suddenly jerks away to nothing then fades quickly to credits – what is the hurry?! Despite this though, the context is good and the text is well delivered by Mills, with modern feeling giving the words a sense of truth and reality.
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- bob the moo
- Jul 28, 2014
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- Runtime2 minutes
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