Perhaps by chance, when I wrote a little rambling about the film of 140, I said it was sometimes a shame that they did not follow the order of the sonnet and, just to prove I have no idea what I am talking about, the very next film after sonnet 140, is that of sonnet 141! It shows that the sonnets do follow themes and perhaps to read them in order will help with understanding of each subsequent one – perhaps not with the films though, since they all come with different visions and interpretations.
Actually in this case for sure it makes sense to watch them in order because, although made by a different team, sonnet 141 follows film 140 very well because the latter has already set the context for 141 which it doesn't have the time or text to do for itself. In this case we follow the angry, hurt, pleading and sad sonneteer of 140, with a much more broken character who could easily have gotten to this point from where we saw them originally. This means that 141 benefits somewhat from the good work in 140 – because we understand the background to our male character even as he starts speaking. Essentially he has reached the point of "I hate everything about you but yet it still hurts deep in my heart and I can't live without you" – melodramatic perhaps, but who isn't when they have been dumped in such a way?
The sonnet also uses the location statue well – literally as a pivotal point of the sonnet (or potentially at least – if he goes through with it!). The delivery of the text is full of anguish, which makes it a bit hard to catch every word, but the context is clear and the delivery is good. Technically I liked the wide shots of the actor on top of the bank, the best shots being people passing by unaware of what he is going though – a nice freebie in the film. So yes the film benefits a lot from the context given it by the previous film on sonnet 140, but it takes this and makes good on it, selling the text and explaining it in a clear context that modern viewers who have been hurt in relationship will be able to connect to.
Actually in this case for sure it makes sense to watch them in order because, although made by a different team, sonnet 141 follows film 140 very well because the latter has already set the context for 141 which it doesn't have the time or text to do for itself. In this case we follow the angry, hurt, pleading and sad sonneteer of 140, with a much more broken character who could easily have gotten to this point from where we saw them originally. This means that 141 benefits somewhat from the good work in 140 – because we understand the background to our male character even as he starts speaking. Essentially he has reached the point of "I hate everything about you but yet it still hurts deep in my heart and I can't live without you" – melodramatic perhaps, but who isn't when they have been dumped in such a way?
The sonnet also uses the location statue well – literally as a pivotal point of the sonnet (or potentially at least – if he goes through with it!). The delivery of the text is full of anguish, which makes it a bit hard to catch every word, but the context is clear and the delivery is good. Technically I liked the wide shots of the actor on top of the bank, the best shots being people passing by unaware of what he is going though – a nice freebie in the film. So yes the film benefits a lot from the context given it by the previous film on sonnet 140, but it takes this and makes good on it, selling the text and explaining it in a clear context that modern viewers who have been hurt in relationship will be able to connect to.