Rime of the Ancient Mariner

Recently, a friend and I were discussing educational and ethical influences when we were growing up in the 1950's versus today. She mentioned Samuel Taylor Coleridge, who, in 1798, wrote The Rime of The Ancient Mariner. Both of us had been required to recite parts of the epic poem in high school and in English Literature courses in college. My friend said, "Its messages even might be called metaphysical within today's context."

We tried reciting it and only remembered bits and pieces. (I have problems remembering Dr. Seuss.) I said I'd get two copies of the poem so each could read it. That was easy enough, but I was extremely surprised to find it had been made into a film. We looked forward to watching the film to see how it had been interpreted. After all, The Rime of the Ancient Mariner isn't exactly light reading. After each had read the poem, we watched the film together.

We considered the film a remarkable achievement, especially considering it was made in the 1970's, before computers, before the so-called "Ken Burns effect," and before special effects too often began compensating for a lack of substance. Particularly noteworthy are the 19th and 20th century illustrations culled from "lesser known artists," such as Willy Pogany, the early Hollywood designer.

The film is narrated by Sir Michael Redgrave, whom had taught the poem when he was a schoolmaster, adding a tone of authority and credibility in remaining true to the poem.

Its mastery is in the layers of subtle messages, conveyed without "instructing," or becoming an oppressive and obvious morality tale. We found it such a refreshing change from today's 'in your face' and 'clobber them over the head' mentality. Most of today's morality messages in film are two-dimensional: extreme violence, murder and mayhem mark the bad. The bad are really, really, bad, and good are super heroes. It is as if human character lacked any nuance. The Rime of The Ancient Mariner is a celebration of the individual, of character, of an appreciation for celebrating all the richness life has to offer, within the larger context of humanity, i.e., man's capacity to give to others.

Proud of ourselves for having found this "unknown" gem, we then learned it had won the top award in its category five out of six times at "name" international film festivals. Another surprise was learning the film's director, Raul daSilva, is a recognized authority on early animation, and authored six award winning books about film.

This film's message is just as relevant today, if not more so, than when Coleridge penned the original epic poem and when Raul daSilva translated it to film. If I still was teaching high school, which I did for five years, I'd grab this one and show it to all my students. There's a level of richness here that naturally leads to discussion about the big and important issues all of us face, whether in 1798, 1978, or today--in fact, as long as humanity has a spiritual component.

Highly recommended.

I first saw this video 15 years ago. I thought it was excellent then and I still do. I am a former teacher of English (high school and college) and a lover of English Romantic poetry, so Coleridge rates highly with me. Anything which might detract from the beauty of the poem or the power of the story wouldn't get my vote of excellence. In this case, everything works well to engage the viewer, especially high school students. The story is well illustrated for a generation which grew up on television. In addition, the voice of Michael Redgrave adds a sense of authenticity and authority to it. Okay, so there wasn't a big budget for the project. So it wasn't Star Wars and there's no CGI in it. But who can dismiss Gustave Doré illustrations as part of the presentation? The comment above, which in just four lines dismisses the video as a piece of trash, is grossly unfair and unperceptive. I'm a friend of the producer, but that isn't my reason for this comment. Rather, I'm defending a work of artistry which I think has value on all levels. It is well suited to bring Coleridge's poem to students in a way which awakens their appreciation of it and awakens their sympathy for the lesson which the ancient mariner imparts.

Years ago in my Junior High School we did in an amateurish way what Raul DaSilva did here with the Rime Of The Ancient Mariner. The art class was encouraged to draw Halloween style pictures of ghosts and goblins and all things that go bump in the night. The drawings were then used in a film to Danse Macabre. My own insignificant efforts were part of it.

What DaSilva did here is exactly what we did, but in a most professional and entertaining manner. Using illustrations and some sea cinematography he fashioned a short film based on Samuel Taylor Coleridge's celebrated poem. Topping it all off is the narration by Michael Redgrave which gave life and meaning to Coleridge's occasionally obscure references.

This project was the farewell performance even though it is only auditory of Michael Redgrave. He lived another ten years before the ravages of Parkinson's Disease claimed him. It was a fitting if not traditional role to go out on. Certainly Redgrave knew he could not do any more after this, even the disease might well have betrayed his voice.

I've got to dedicate this review to Robert Seiden music teacher and Philip Tritt art teacher. In a profession that attracts at times some time serving slugs and I had my share of them, these two really took the job seriously. If you're still around I hope you get to read this review and I hope you're big fans of Michael Redgrave.

The Ancient Mariner is a truly classic piece of work, as the original poem was/is. The context/setting with the old mariner himself is fine, clear, and without pretense. The artistic work that accompanies the reading of the poem fits perfectly the time/period of the setting and of the work itself, carrying the audience into the period with a still, yet moving accompaniment, using excellent still-movement strategies only well conquered by the pre-MTV era producers and much less apparent in more current works. (MTV brought to television and video a static movement that races through, often irrelevant cuts, from theme to theme without forward movement and without clear relationships to theme or storyline.) The voice, intonation and vitality of Redgrave's reading brings this touching poem to life with all its fear, strife and pain. In addition, the smooth movement of the video emphasizes the cadence and occasional monotone (in this case a positive mood under the theme of the story itself)of the author's rendition of the ancient mariner's sad and spooky tale. This is a must for any love of classic poetry, the sea, a tall tale, that almost rings true, and a story that has left a lasting impact on our world and culture. Who does not understand the meaning of an "albatross"? or the concept of "water, water everywhere and not a drop to drink?" A truly fine experience. Thank you Mr. DaSilva for bringing this to life for us, never to be forgotten.

28 years ago, I had the opportunity to view the film, fresh off the presses, so to speak. This visualization of the timeless classic, Rime of the Ancient Mariner, produced by writer-director, Raúl daSilva, was actually completed in 1975, and is a first-of-its kind film. The director once lived here, in Rochester, NY. When he produced it, he was the executive producer for Eastman Kodak's industrial ad agency. Rochester is one of the three cities where it was created. The others are London and New York City. Some seascapes were taken as far south as the Cayman Islands. The original reason he created this reading of the timeless epic poem was to help students better understand it. The Coleridge work heralded in the Romantic movement in English literature.

In my view, shared by Library Journal, NPR, PBS and other critical reviews, Raul daSilva greatly succeeded. The film received a rave review from the Democrat & Chronicle when it premiered here at the Eastman House Dryden Theater. The reviewer noted that the director also wanted to celebrate the efforts of past illustrators to bring life to the great poem.

Among those illustrators is the historically significant 19th Century engraver, Gustave Doré, whose illustrations brought visual power to this and other poems and stories. By incorporating Doré's illustrations, the film succeeds on two levels: one, in bringing to the screen the immortal poem itself; and two, in letting viewers enjoy the work of a great illustrator.

This Samuel Taylor Coleridge work speaks to the sanctity of all life on Earth. Although written in 1798, the world still struggles to get its message.