Pandaemonium (2000)

Friendship and betrayal between two poets during the French Revolution.

Director:

Julien Temple

Writer:

Frank Cottrell Boyce

Stars:

Linus Roache, John Hannah, Samantha Morton

2 wins & 1 nomination.

Cast

Cast overview, first billed only:
Linus Roache	...	Samuel Coleridge
John Hannah	...	William Wordsworth
Samantha Morton	...	Sara Coleridge
Emily Woof	...	Dorothy Wordsworth
Emma Fielding	...	Mary Wordsworth
Andy Serkis	...	John Thelwall
Samuel West	...	Robert Southey
Michael Harbour	...	Walsh
William Scott-Masson	...	Tom Poole
Clive Merrison	...	Dr. Gillman
Dexter Fletcher	...	Humphry Davy
Guy Lankester	...	Lord Byron
Andrea Lowe	...	Edith Southey
Jacqueline Defferary	...	Miss Holland
Andy de la Tour	...	Andrew Crosse

Storyline

Friendship and betrayal between two poets during the French Revolution.

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Plot Keywords:

child | lord byron character | samuel taylor coleridge character | william wordsworth character | voice over poetry | 

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Genres:

Biography | Drama

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Motion Picture Rating (MPAA)

Rated PG-13 for drug content

Details

Country:

UK

Language:

English

Release Date:

18 April 2001 (France)

Also Known As:

Pandemonium

Filming Locations:

Charlestown, Cornwall, England, UK

Box Office

Budget:

$15,000,000 (estimated)

Company Credits

Production Co:

Arts Council of England,British Broadcasting Corporation (BBC),Film Council

Technical Specs

Runtime:

124 min

Sound Mix:

Dolby Digital

Color:

Color

Did You Know?

Trivia

Includes a popular song Xanadu from the 1980's performed by Olivia Newton-John at the end credits, despite being an obvious anachronismus due to a film story and the time in history when it was set to take place.

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Goofs

As they are rolling around from the effects of "Thornapple", the shot of the clouds rolling by show the quick streak of the exhaust of a jet airplane zipping from bottom to top of the picture.

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Quotes

[first lines]
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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Crazy Credits

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).

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Connections

References Xanadu (1980)

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Soundtracks

Chylde Owlet
Trad.Arr. Nick Ingman / BBC Music Publishing Ltd.
Sung by Gemma Padley

User Reviews

Beautifully filmed treasure

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.