Although the pressure in the early sonnets to have children makes Shakespeare come across a bit like my mother, he writes his persuasions much better than she hers. Sonnet 17 is an accessible one where the reasoning is simple – if you (subject) do not have children then people in the future will have nothing to even hint at how awesome you were, other than these words (which they would dismiss as folly or lies); but a child maintaining yourself for the future, would show them it was not just fancy words. An odd argument to modern ears, but one that is clearly delivered and very enjoyable to read out loud.
The location for this short is the front of the New York Library, which links to the theme or written records, and the actress is filmed against a speeded-up background of people coming and going (the passage of time). If both these things seem like rather obvious connections then it is good that they are not pushed since both are just background because the film is all about the delivery of the sonnet. The previous film had done what many do, which is to deliver the sonnet in voice-over; it worked well for what film 36 wanted, but I have found that when they are done well I much prefer letting the actor act through the words on the screen. That is what happens here and it is really well done.
Entering these (many) episodes onto IMDb, I have typed Van Driest's name quite a few times as she has served as text coach and other roles along the way, but I think this is the first of the series where I see her act. She is great in this and her delivered opened me up to the context that she brings to the role – which is not just "hey, have a child", but rather "we should have a child". She plays the sonnet like one trying to guide her partner to an agreement. The opening half of the sonnet is playing like a continuing discussion off the back of a lot of complimenting – and then we have the "but". It is a great "but" and it changes how I had read the whole second half – giving it life and making it make more sense. She is very expressive, which is again another reason I prefer the performance rather than the narration.
Technically the film looks and sounds good, with good use of the location without it intruding, and a nice visual theme of time moving quickly. It is Van Driest's performance that seals it though – really bringing the sonnet to life in a way that is modern and relevant.
The location for this short is the front of the New York Library, which links to the theme or written records, and the actress is filmed against a speeded-up background of people coming and going (the passage of time). If both these things seem like rather obvious connections then it is good that they are not pushed since both are just background because the film is all about the delivery of the sonnet. The previous film had done what many do, which is to deliver the sonnet in voice-over; it worked well for what film 36 wanted, but I have found that when they are done well I much prefer letting the actor act through the words on the screen. That is what happens here and it is really well done.
Entering these (many) episodes onto IMDb, I have typed Van Driest's name quite a few times as she has served as text coach and other roles along the way, but I think this is the first of the series where I see her act. She is great in this and her delivered opened me up to the context that she brings to the role – which is not just "hey, have a child", but rather "we should have a child". She plays the sonnet like one trying to guide her partner to an agreement. The opening half of the sonnet is playing like a continuing discussion off the back of a lot of complimenting – and then we have the "but". It is a great "but" and it changes how I had read the whole second half – giving it life and making it make more sense. She is very expressive, which is again another reason I prefer the performance rather than the narration.
Technically the film looks and sounds good, with good use of the location without it intruding, and a nice visual theme of time moving quickly. It is Van Driest's performance that seals it though – really bringing the sonnet to life in a way that is modern and relevant.