1984

It's been too long since I read the book, so I'm just concerned with the movie as a movie. And what a downer the 90-minutes is for the generally sunny 1950's. Hard to think of a grimmer storyline or more downbeat ending for that period. I take the film's anomalous presence as a useful Cold War commentary on the Soviet Union, the rivalry then at its peak.

Anyhow, the sets are grim, even the one outdoor scene is drained of any natural beauty, while the photography remains dull gray, as it should be given the dystopian subject matter. Then too, the two leads, O'Brien and Sterling, are not exactly marquee names. However, they are excellent actors, as the storyline requires—you don't want "movie stars" competing with the plot-heavy symbolism. In short, the production, though clearly economical, is pretty uncompromising.

Story-wise we're plunged into the middle of the dystopian society without much explanation of how it got that way or why. Instead, the narrative emphasizes the tools of thought control among Party members, who are subjected to all sorts of thought conditioning techniques, such as the histrionic hate sessions. Just how the non-party people live is not really portrayed. However, love may be forbidden among Party members, but I doubt that it was among the common people, otherwise how would re-population take place.

Besides dwelling on Winston's (O'Brien) efforts at contacting the political underground, the script dwells on the forbidden love affair between Winston and Julia (Sterling). And I had to laugh when Julia sheds her shapeless Party uniform for a flowing white gown right out of the Loretta Young Show of the time. This may be the movie's one concession to 1950's norms. The film does manage a few twists, one of which I didn't see coming. But, if I have one complaint, it's that Redgrave's high Party official lacks subtlety, in pretty much a one-note performance. This can be seen as a defect if you think about his official's changing roles.

Anyway, the film remains a visual oddity for then as well as now. However, its thought- control message, though crudely put, may be more relevant in our digitalized age than it was then. At the same time, this is one of the few subjects that I think needs a bigger budget remake to do it justice. I haven't seen the latest remake from 1984, so I can't comment on its worth. All in all, this version maintains a grimly narrow, but thought-provoking focus.

(In passing—having seen the movie on first release, I seem to remember the "rat cage" sequence as being longer, more detailed with glowing eyes, and much scarier than my DVD version. But then that was well over 50-years ago.)

I finally was able to see this film, having seen the 1984 version with John Hurt when I was in college. I recall the 1984 version having some good production values, but I remember being disappointed also. This version was well-cast, and the art direction was also competent. Edmund O'Brien turned in a great performance as Winston Smith. I think that he brought a great quality of desperation to the role; which seemed to run contrary to John Hurt's performance. I'm sure there was a lot left out of the book. But I get tired of hearing people moan and groan about the argument of literature vs. cinema. Come on people, film is time-based, and can't digress like novels can. The screenwriter/director mainly extracts plot points, and can't be bothered with too much exposition (unless of course they have a whopping budget!). I've read many criticisms where more skeptical viewers complain that we don't get to know Big Brother's motives, strategy, etc... What?!! It's Big Brother - an enigmatic and probably non-existent despot....you're not supposed to know his whole story! The love affair, although brief, is very empathetic. In lieu of all the paranoia, Big Brother-cheerleading, etc. - the love between Winston and Julia is a good emotional oasis. Even though I watched a poor copy of this version, it really did make an impression. One of the few criticisms I have is Room 101. I thought the rat shot/scene was truncated, and could've been dramatized more. That's where the John Hurt version trumps this one.

Dingy, atmospheric version of George Orwells tale concerning two citizens of the New World Order involved in illicit, illegal love. Nothing is pretty in this story, and perhaps O'Brian and Sterling are a bit long in the tooth for the characters the author had in mind, however the superb dramatizations overcome any casting mishaps. The story of life in a totalitarian society rings chillingly familiar today. And, in the conclusion, to quote the poet laureate of our times, Todd Rundgren "Winston Smith Takes it on the Jaw Again!"

I saw the movie once back in 1968 or so and thought it was great. Don't know how I'd view it now but I have never had any desire to see the remake. The fact that the movie is in black and white still leaves a very visual impression of the stark, bare lives people like Winston Smith led. No color in their lives and certainly no color in their thoughts was the order of their day. I think the film captured that along with the idea that their technology available was also unenlightening. It served only one purpose and that was to control. I don't think I would be as impressed if the movie were made today. Our technology is too sophisticated. In the original version, less is more.

......is even better. One might be tempted to call this a remake, and I suppose it is, but it was the first theatrical rendition, enabling audiences to watch Big Brother (watching them) on a bigger screen than was possible via the BBC/Peter Cushing version (1954) of two years earlier. I agree with previous commentator "bux's" observance that, while Edmond O'Brien and Jan Sterling may not have been Orwell's first casting choices for Winston and Julia for the reason stated, the sterling performances generated by the leads and their supporting cast more than compensate. As a huge fan of the late, great Hammer Films luminary Michael Ripper, I was especially pleased to see him helping to take up the rear as an Outer Party Orator, exemplifying the tender loving care with which producer N. Peter Rathvon saw fit to cast even the smaller roles.