Plot Details: This opinion reveals minor details about the movie's plot.

1816--"Poets are for each other."

What did Lord Byron mean?
If you aren't the slightest bit interested in poetry of the Romantic period or of anything with a dark gothic feel to it, then this film is not for you.

Byron's quote could be translated many different ways. Lord Byron whispers this to Shelley as the music picks up tempo, the proverbial curtains blowing in the breeze with a hint of a storm rolling in along its edges. You can feel the lightning snap in the air, almost taste the coppery feel of electricity on your tongue, and the sense of doom with a capital "D" abounds.

Could a director possibly get more gothic than that? What could be more fitting of an image for a romantic? Ken Russell hits us with continual montages of romantic era poses centered around two of the most famous poets of their time: Lord Bryon and Shelley.

Better still is the emergence of the third character, Mary Shelley, wife of Shelley, author of Frankenstein. She fills in as an occasional narrator during the film, but Russell's decision to do so isn't as annoying as other film narrators of this era (Ridley Scott's way-too-obvious narrator in 1982's Blade Runner is a fine example).

In fact, if Russell used no speak-over narration at all, even the most devoted Byron/Shelley lover would be more than perplexed at the odd narrative rhythm in this piece--no doubt fitting for the drug-induced overtones. Actually, Mary Shelley's narration proves that there was some sanity to that strange little artistic group of people: Lord Byron, his doctor, Shelley, Mary and Claire, and well, where would we be without the g-h-o-s-t?

At times, during their twelve hour drug-induced romp through the castle, Mary seems like the only one with the slightest amount of caution or reason, yet she gives in and takes her swigs of Byron's magical psychedelic potion.

Without destroying any of the plot details, which are cleverly mapped out in an all-over-the-place but intoxicating feel by Russell, the group gets together over the weekend to embark on fanning the flames of their own creativity. The idea is that they will inspire each other to write a fantastical story, a ghost story more horrifying than ever written before.

Later as they are in a heavily drugged state, they hold a seance and do indeed conjure up demons. The demons are derived from their very own worst fears and nightmares, the things that poetry doesn't often elevate, the things that eat at their souls: the fear of an unwanted pregnancy and a man's rejection, the torture of being buried alive, the pain of losing a child while giving birth, fears of homosexual exposure, the searing sense of a sibling's loss coupled with the guilt of incest.

Very real things make up their horrors as these were very real people. Russell stayed within reasonable boundaries of non-fiction while crafting these real-to-life-characters. Shelley had a real fear of being buried alive; Byron had an enormous amount of grief over his true love, his sister Augusta, and Claire unabashedly made a fool of herself almost till her death chasing Lord Byron, a man who could have cared less for her.

Fans of Gabriel Byrne will appreciate his attempt at Lord Byron. The only other possible stand in for that role could have to have gone to John Malkovich or perhaps Daniel Day Lewis. At least Byrne portrays Byron with consistency. He plays Byron with a psychotic and moody strong-hand which is fitting. Sands plays a very idealistic Shelley, but perhaps he goes over board with the innocence. Shelley wasn't exactly sweet sixteen at that time. Natasha Richardson makes a fine screen debut, and Miriam Cyr has a convincing style as well.


Break out that flowing gown, that poet's shirt, the aged bottle of sherry, and marble-tipped walking stick--this is a romantic poet's dream.



Recommended: Yes

Viewing Format: VHS
Video Occasion: Good for a Rainy Day
Suitability For Children: Not suitable for Children of any age