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1984

  • 1956
  • Not Rated
  • 1h 30m
IMDb RATING
6.9/10
4.6K
YOUR RATING
Jan Sterling, Edmond O'Brien, and Michael Redgrave in 1984 (1956)
Dystopian Sci-FiDramaSci-Fi

In a totalitarian future society, Winston Smith, whose daily work is re-writing history, tries to rebel by falling in love.In a totalitarian future society, Winston Smith, whose daily work is re-writing history, tries to rebel by falling in love.In a totalitarian future society, Winston Smith, whose daily work is re-writing history, tries to rebel by falling in love.

  • Director
    • Michael Anderson
  • Writers
    • William Templeton
    • Ralph Gilbert Bettison
    • George Orwell
  • Stars
    • Edmond O'Brien
    • Michael Redgrave
    • Jan Sterling
  • See production info at IMDbPro
  • IMDb RATING
    6.9/10
    4.6K
    YOUR RATING
    • Director
      • Michael Anderson
    • Writers
      • William Templeton
      • Ralph Gilbert Bettison
      • George Orwell
    • Stars
      • Edmond O'Brien
      • Michael Redgrave
      • Jan Sterling
    • 41User reviews
    • 20Critic reviews
  • See production info at IMDbPro
  • See production info at IMDbPro
  • Photos100

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    Top cast22

    Edit
    Edmond O'Brien
    Edmond O'Brien
    • Winston Smith of the Outer Party
    Michael Redgrave
    Michael Redgrave
    • O'Connor of the Inner Party
    Jan Sterling
    Jan Sterling
    • Julia of the Outer Party
    David Kossoff
    David Kossoff
    • Charrington the Junk Shop Owner
    Mervyn Johns
    Mervyn Johns
    • Jones
    Donald Pleasence
    Donald Pleasence
    • R. Parsons
    • (as Donald Pleasance)
    Carol Wolveridge
    • Selina Parsons
    Ernest Clark
    Ernest Clark
    • Outer Party Announcer
    Patrick Allen
    Patrick Allen
    • Inner Party Official
    Ronan O'Casey
    Ronan O'Casey
    • Rutherford
    Michael Ripper
    • Outer Party Orator
    Ewen Solon
    Ewen Solon
    • Outer Party Orator
    Kenneth Griffith
    Kenneth Griffith
    • Prisoner
    • (as Kenneth Griffiths)
    Barbara Cavan
    • Woman
    • (voice)
    • (uncredited)
    Walter Gotell
    Walter Gotell
    • Guard
    • (uncredited)
    Anthony Jacobs
    • Telescreen
    • (voice)
    • (uncredited)
    Barbara Keogh
    • Special Woman
    • (uncredited)
    Bernard Rebel
    • Kalador
    • (uncredited)
    • Director
      • Michael Anderson
    • Writers
      • William Templeton
      • Ralph Gilbert Bettison
      • George Orwell
    • All cast & crew
    • Production, box office & more at IMDbPro

    User reviews41

    6.94.6K
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    Featured reviews

    7petersjoelen

    thought police

    The destruction of love is what we see here effectivly in all aspects of society. the destruction of the family , an enemy that is artificial , control of the history . It is scary and maybe far more nearby to us now than ever before because some aspects are now pretty actual in this so called crisis , like fear for eachother and isolation from another .
    7bkoganbing

    The Assumptions on which his society is built

    9/11/01 is the date we lost a lot of freedom, perhaps irrevocably. Whether we move into the society that George Orwell describes in 1984 or retain a significant measure of individuality is up to us. But we will sacrifice a lot for security.

    Which in Orwell's world written in the late Forties the target date was 1984. Like On The Beach Orwell got the date wrong, but doesn't mean it still can't happen. Atomic war came in 1965 and the world divided into three great super republics, people's republics if you will. Our American leads in a mostly British supporting cast, Edmond O'Brien and Jan Sterling, are from different factions. O'Brien is a member of the Inner Party with a drone like job who is starting to question assumptions on wish his society is built. Among them marriage is tightly controlled with love not a factor. But he does fall for Jan Sterling of the Outer Party.

    In a country with constant monitoring, privacy is what they want. But there is no right to privacy and surveillance goes way beyond what we have post 9/11. Sterling and O'Brien pay big time for wanting some alone time.

    Besides Sterling and O'Brien other performances to point out are Michael Redgrave as O'Brien's superior at work, Donald Pleasance as another drone worker who is also a graduate of the state's re-education facility and David Kossoff as the kindly old antique dealer who turns out to be something else.

    The society most resembling the Orwellian 1984 is that of North Korea with their hermetically sealed country with a cult of secular worship of the ruling family. If the people there shake loose from the tyranny of the People's Republic it might be a great indication of hope for people who will insist on their individualism. Are we sliding in that direction? Time will tell.

    1984 has had a few different versions made for big and small screen. This one can stand with any of them.
    dougdoepke

    A Cold War 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.)
    neonbylaurie

    Loved the movie, want a copy

    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.
    10brad_and_ethan

    Powerful and Shattering

    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.

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    Storyline

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    Did you know

    Edit
    • Trivia
      Sonia Orwell, widow of George Orwell, objected to the changed ending, and had this movie withdrawn from circulation.
    • Quotes

      O'Connor of the Inner Party: You will be hollow. We will squeeze you empty and fill you with ourselves, with love of Big Brother.

    • Alternate versions
      There are two endings to this film. The UK version ends with a defiant Winston Smith and Julia being executed by the authorities. The US version is more faithful to Orwell's book and concludes with Winston and Julia being brainwashed into becoming loyal followers of "Big Brother."
    • Connections
      Featured in Hollywood and the Stars: The Angry Screen (1964)
    • Soundtracks
      Symphony No.5: Second Movement
      (uncredited)

      Music by Ludwig van Beethoven

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    FAQ14

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    Details

    Edit
    • Release date
      • September 1956 (United States)
    • Country of origin
      • United Kingdom
    • Language
      • English
    • Also known as
      • Neunzehnhundertvierundachtzig
    • Filming locations
      • London, England, UK
    • Production company
      • Holiday Film Productions Ltd.
    • See more company credits at IMDbPro

    Tech specs

    Edit
    • Runtime
      • 1h 30m(90 min)
    • Color
      • Black and White

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