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Robert Southey: Sam, opium is not your worst addiction. Your worst addiction is to Wordsworth.
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William Wordsworth: I wandered lonely as a cow...
Dorothy Wordsworth: Perhaps "cloud" would be better, William.
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William Wordsworth: Albatrosses have nothing to do with eel fishing! This is another distraction.
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John Thelwall: You have grown such pleasing huge breasts, Sara.
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William Wordsworth: We came to create a revolution of the mind, not to canoodle on a hillock.
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Rev. Holland: No shoes, funny voices. They must be French.
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Samuel Taylor Coleridge: Anonymous - like Homer, like the hills and clouds themselves!
Sara Coleridge: So long as Anonymous doesn't collect the fee.
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Samuel Taylor Coleridge: They will always be remembered... when I am dead and all my words are dust.
Sara Coleridge: What is it? What have you written?
Robert Southey: It's a story for the children. Called "The Three Bears".
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William Wordsworth: You can feed him with ideas and images but I go hungry.
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Samuel Taylor Coleridge: It's not the opium - it's my mind. I spend every day trying not to think.
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Samuel Taylor Coleridge: It's only a mite. It's not as though he created a fully grown Doctor of Philosophy or a strapping great ploughboy.
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Amazon.com
Set in England during the early 19th century, Pandaemonium evokes late-1960s America in its depiction of the relationship between Samuel Taylor Coleridge (Linus Roach) and William Wordsworth (John Hannah). Instead of going to Vietnam, Wordsworth goes off to fight against the French while Coleridge stays at home and promotes utopianism. After the war, the poets live and work together with Coleridge's wife, Sara (Samantha Morton), and Wordsworth's sister, Dorothy (Emily Woof). At first this communal arrangement works to the advantage of Coleridge--who does some of his best writing while Wordsworth stagnates--until Coleridge becomes addicted to opium. Wordsworth, meanwhile, doesn't find his voice until he abandons his friend. In 20th-century vernacular, Wordsworth is the yuppie, Coleridge the hippie. Director Julien Temple (Absolute Beginners) even evokes 1960s cinema with this occasionally overwrought--but often visually stunning--essay on the mysteries of creativity. --Kathleen C. Fennessy
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