WORDS COLLIDE WITH IMAGE & MUSIC
THE RESULT IS PURE POETRY

Director's Notes

In 1976, the great American poet Robert Bly told another great poet and friend, Coleman Barks, “These poems need to be released from their cages.”  He was speaking of the poetry of Jalal ad-Din Rumi – a Sufi mystic who lived in the thirteenth century.  Thirty years later, thanks in no small part to Barks’ masterful translations into English, Rumi is now the most read poet in the United States.  Ironic and telling at a time when we are warring with the very religion which spawned such a wise and spiritual being. 

Another very wise person (my wife) handed me a book of Rumi’s poems at a tumultuous period in my life – and it proved tonic for my soul.  I stumbled upon recordings by Barks and Bly of Rumi poetry set to tabla and sitar.  I listened to those recordings a thousand times.  A great poem read by a great poet is a rare and valuable treat.   

Great poetry is naturally rhythmic and infused with image and symbol – qualities that enable them, like great religious texts, to trigger a deep emotional and spiritual response.  Whenever I read or heard Rumi, I saw the poem in my minds eye.  I thought it would be interesting to take a poem and express it in film.  Hence, the concept for RANT and RAVE were born. 

The first person I contacted to participate in the film was, of course, the voice and soul of Rumi in America, Coleman Barks.  I had already come up with a name for the film -  RANT, and had settled on a tag line which is also the title of my favorite poem in the film – Who Says Words with My Mouth.  Coleman Barks immediately liked and signed on to the idea intimating that this form could introduce poetry to a whole new generation - people who, like myself, grew up on TV and film and seem to connect with and be most affected by that medium. 

The film's pieces, poems and characters seemed to show up as if on que.  And so that even I could not miss the obvious, Coleman recounted an experience he had on a recent trip.  The U.S. State Department had sponsored a trip for Coleman to Afghanistan.  He was to be the first non-military/political representative from the United States to address their newly formed government.

Barks started his address by reading a poem in English.  To his surprise and bewilderment, he soon saw all of the lips in the audience moving.  He asked what they were doing and his translater explained that they were mouthing the words to the poem in Farsi – the language from which Barks originally translated Rumi’s poetry.   Shortly after he finished reading the poem, a heated argument broke out between the Afghan leaders.  Barks asked if this was a bad thing.  The translator said “No, this is very good.  They are debating the poems reference to drunkenness” which Rumi uses often as a metaphor in his poetry.  “Imagine", Barks said to me, “our congressman having such a heated debate about the really real”.   

When I asked Coleman the poem that started all the trouble

– it could only be

Who Says Words with My Mouth.

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