6.6/10
749
32 user 20 critic

Pandaemonium (2000)

Trailer
1:14 | Trailer

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Friendship and betrayal between two poets during the French Revolution.

Director:

Julien Temple
2 wins & 1 nomination. See more awards »

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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 Michael Harbour ... Walsh
William Scott-Masson ... Tom Poole
Clive Merrison ... Dr. Gillman
Dexter Fletcher ... Humphry Davy
Guy Lankester Guy Lankester ... Lord Byron
Andrea Lowe ... Edith Southey
Jacqueline Defferary Jacqueline Defferary ... Miss Holland
Andy de la Tour Andy de la Tour ... Andrew Crosse
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Storyline

Friendship and betrayal between two poets during the French Revolution.

Plot Summary | Add Synopsis

Genres:

Biography | Drama

Motion Picture Rating (MPAA)

Rated PG-13 for drug content | See all certifications »
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Details

Country:

UK

Language:

English

Release Date:

18 April 2001 (France) See more »

Also Known As:

Pandemonium See more »

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Box Office

Budget:

$15,000,000 (estimated)
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Dolby Digital

Color:

Color
See full technical specs »
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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. See more »

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. See more »

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.
See more »

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). See more »

Connections

References Xanadu (1980) See more »

Soundtracks

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

 
Beautifully filmed treasure
18 April 2002 | by lllamaSee all my reviews

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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