Based on the life of a classic french cineast Jean Vigo, the story follows his daily struggle with sanity, normal life and uncompromising filmmaking. Story also focuses on his relationship ... See full summary »
Is the story of Samantha and Dov Ernst, American Zionists who emigrated to Palestine. Kalkofsky, a German Jew and bookseller, left behind his family in Europe. He accommodates Silvia, a young revolutionary against British rule.
The film is set in Northern Ireland shortly after 1994 cease-fire. Hazel is a Protestant and Malachy a Catholic. Romance between them is threatened by Rohan (leader in militant underground ... See full summary »
Somerset, 1958. Eva enters adulthood with good humor, keeping house for her absent-minded father, letting her younger sister Janie in on the secrets of growing up, working at a furniture ... See full summary »
Although married and pregnant Rose has always been Mother's favorite, it is younger sister Iris whose life is shaken up by Mother's death. Suffocating, Iris spirals out of control and copes... See full summary »
When William and Dorothy Wordsworth arrive at Coleridge's cottage and they go in search of Sarah Coleridge, the baby, Hartley is sitting on Sarah's lap with bare feet. When Sam introduces the Wordsworths to the baby a second later, he is wearing red boots/booties. See more »
Samuel Taylor Coleridge:
Like one that on a lonesome road doth walk in fear and dread, and having once turned 'roud walks on and turns no more his head, because he knows a frightful fiend doth close behind him tred. 'Tis a strange place this limbo, not a place yet named so.
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The credits start with one letter, which becomes the name of the person involved. They don't seem to make any sense, but most are letters incorporated in the word PANDAEMONIUM (the last Text before the Cast Listing starts). See more »
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.
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