Pandaemonium

I wandered lonely as a cow into the video store. . . and then I rented this film. Alas. I think the director was trying to channel the spirit of Ken Russell while he was making this film. Unfortunately, it was only during the last 15 minutes that the movie took a full bodied lurch into unintentionally comic melodramatic absurdity. With its utter disregard for the historic record, "Pandaemonium" attempts to do for England's greatest Romantic poets what "Monty Python and the Holy Grail" did for the Arthurian legends - but (sadly) without the wit or the humor.

Why is it that so many films about poets fail to convey any essence of poetry? Perhaps if you don't know anything about Wordsworth or Coleridge (or you don't care) you might be satisfied with "Pandaemonium," but I find it impossible to recommend a film that slanders the former while portraying the latter as a slathering dope fiend.

(I did enjoy the "Xanadu" music video shown over the ending credits - now that was truly trashy.)

This beautifully filmed treasure was a special treat to watch, as it transported me into a different world and captured the feelings I had as a student of English literature studying Coleridge and Wordsworth. Through its artistic interpretation of the inner landscape of Coleridge's mind, it reawakened the emotions that Coleridge's poetry itself evoked. I applaud the credit it gave to the women in the lives of these two masters, particularly Dorothy Wordsworth, whose importance to the poetry itself was unrecognized in the original works and has always been underappreciated. The film really brought to life "The Rime of the Ancient Mariner," "Kubla Khan," and "Frost at Midnight."

The movie was so powerful because of the beautiful filming--the sets, scenery, costumes, etc., the photographic talents that captured these, the haunting background score, and the talented acting of the cast, particularly that of Linus Roach, who displayed a variety of emotional states so wonderfully, though I was really moved by Emily Woof's acting, as well. At first it seemed to me that John Hannah was merely walking through his role, but I now feel that the subdued acting was deliberate in portraying a much more sinister Wordsworth. I also applaud Samantha Morton and Samuel West for their roles.

The one odd thing about the movie was the segment shown during the final credits, in which Coleridge walks around in modern London, with dreadful popular modern music playing. I understand that a statement was being made, but it contrasted too sharply with the beauty of the film and the reverie in which I found myself. (The music was dreadful because of the contrast with the earlier context.) I really didn't need to be unkindly startled from the earlier sweet emotions. Only credit-watchers like me have to worry about it, though.

A drama first and biopic second, "Pandaemonium" tells of the midlife of renown classical wordsmith and critic Samuel Taylor Coleridge who's life was not terribly interesting though he was on the cutting edge of 19th century neoromantic poetry. Probably taking some liberties for dramatic purposes, the film involves the poet's relationships with William Wordsworth, his opium addiction, his troubled marriage, and, of course, his struggle with the demons of the creative process. Visually beautiful, well acted, but a tad theatrical with some annoying interjections, Pandaemonium" is probably too esoteric for the film-going public at large. A splendid effort which will likely be most appreciated by those into classical literature - particularly 19th century poetry. (B)

At last, a film that depicts the lives and creative angst of poets that rings true, not just in its literal evocation but in the poetic handling of their inner worlds concurrent with their outer ones...their relationships, their involvement in the politics of their time. Above all, the passion that can possess a creative mind to the point of near self-destruction. Coleridge, the main protagonist in this film, is depicted (and well portrayed by Linus Roache) in all his struggles to reach the deepest source in himself, leading sadly to his addiction to laudanum. We're given graphic images of his creative process, the imagination (of both the poet and film-maker, much credit to Julien Temple) made visual (with some interesting references to our contemporary world). We see Wordsworth pretty much through the eyes of Coleridge and his relationship with him and his sister. Dorothy (beautifully played by Emily Woof). A Wordsworth fan might easily be critical of such a view, but this after all is Coleridge's day in the sun (or shade). Even if you're not a poetry enthusiast (which, alas, counts too many, especially in American culture) this film can bring you entertainment and much more...the suggestion that within us all lies a source of beauty that can allow us to appreciate it in its verbal form. See it! It's in my view one of the finest films in many a moon.

If there's one thing I like about this film it is the very active presence of Dorothy Wordsworth! I am a big fan of both Wordsworth's and Coleridge's works and an currently studying some Wordsworth at the moment in terms of Marxist criticism and even though in Wordsworth's Tintern Abbey he mentions his sister, he does not actually give her a voice - he repressed her voice to a great extent. Collaboration has always been very common, especially in their time period, but was very rarely acknowledged - something pointed out very strongly in this film, and very correctly the film showed Dorothy assisting and advising her brother on his work. The fictional Dorothy makes some very political and arguably feminist comments in this film, she is trying to pave her way in a man's world, but in her alliance to Coleridge she loses her chance...

I'm not sure how much of this film was fiction or fact but I am very pleased with the representation of Dorothy as it is about time her voice was heard.