1984

I am frankly mystified by the comments of those who seem to find this film disappointing or inadequate, and even more by those who claim to prefer the 1956 version, which I consider to be inferior in every respect to the later version, except for some top quality performances by Donald Pleasence and Michael Redgrave in supporting roles. In my opinion, this later version of "Nineteen Eighty Four" is one of the best literary adaptations I've seen.

The film was obviously a labor of love for director Michael Radford, who also co-wrote the screenplay. As noted in the end credits, the film "was photographed in and around London during the period April-June 1984, the exact time and setting imagined by the author". If this were a big-budget Hollywood bomb, I might consider that a publicity stunt, but in the case of this little-known, little-seen British film, it's fairly obviously a form of homage.

The look of the film is extraordinary in its evocation of the world Orwell created, down to the tiniest detail. Although that world was obviously very different from the real world of 1984, a deliberate choice was made to stick with the Orwellian vision in every way, anachronistic technology and all, and I firmly believe it was the right choice, as opposed to the "updating" we sometimes see in adaptations of classic "futuristic" stories. Thus, we are treated to the baroque and slightly disorienting sight of black rotary-dial telephones, pneumatic document-delivery systems, old-fashioned "safety razors", tube radios, etc., all of which were already obsolete at the time of filming. And of course, the omnipresent black-and-white "telescreens" with rounded picture tubes.

As Winston Smith, the story's protagonist, John Hurt is an inspired piece of casting; absolutely the perfect choice. Not only does he fit the author's description of Smith to a "T", but with the haircut he's given, he even bears a striking resemblance to Orwell himself. And there is no actor alive better than Hurt at evoking victimization in all its infinite gradations and variations. Suzanna Hamilton, relatively little-known here in the US, also does a fine job as Julia. The film also contains the final film appearance of Richard Burton, in one of his most fascinating and disturbing performances as O'Brien. And the great Cyril Cusack does a classic turn as Charrington, the pawnshop proprietor.

Right from the opening scene, in which we look in on a screening of a short propaganda film, brilliantly conceived and executed by Radford, during the daily "two minutes hate", climaxing in Dominic Muldowney's memorable, genuinely stirring national anthem of Oceania played behind the gigantic image of Big Brother, we are catapulted headlong into Orwell's nightmare vision. While not a particularly long novel (my copy is 256 pages), it is nevertheless dense with ideas, and it would be impossible for a standard-length film to include them all, even if the audience could stand all the endless talking heads it would require. Given the inherent limitations, I think the film largely succeeds in preserving a good portion of the ideological "meat" of the novel. It is certainly extremely faithful in the material it does include. Even the incidental music by Eurythmics feels entirely appropriate, and doesn't in any way break the mood. In fact, it even enhances it.

While I thought the 1956 version did a fairly good job for the time, it had a number of flaws in my estimation that made it far less successful an adaptation. For one thing, although the world it portrays is grim, it's not nearly grim enough. Also, Edmond O'Brien may have done a creditable job as Smith, but physically he's all wrong for the part. The portly, even chubby O'Brien bears little resemblance to the slight, emaciated, chronically exhausted, varicose-ulcerated Smith described in the novel. Neither is the 1956 version as faithful to the book; some of the material is softened, and there are odd, unexplainable alterations: O'Brien becomes O'Connor, and I don't think that Goldstein, the possibly imaginary leader of the possibly fictitious "Resistance", is even mentioned. At 90 minutes, it runs a good 23 minutes shorter than the later version, which necessitates the trimming of even more of the novel, for all you literary purists. In all, for me, the 1984 version of "Nineteen Eighty Four" is the definitive version; a remarkably vivid and memorable film.

Merely a few days after finishing my read of George Orwell's fantastic 1948 novel "Nineteen Eighty-Four", I was immediately keen on looking to rent the modern film version, "1984" - filmed, appropriately enough, not only during the actual YEAR of 1984, but also during the exact same short span of months that the story took place in. This, to me, is a prime example of perfect, and unbelievably well-timed, brilliance. A picture based on such complex, prophetic, and well-known material could have turned out to be a complete disaster (which it certainly had potential for, judging from the horrendous-looking DVD cover); thankfully, however, I was not disappointed.

"1984" is probably one of the most, if not THE most, masterful transitions from book to movie I have ever seen. Easily, its most impressive aspect was its phenomenal accuracy, attention to detail, etc. In other words, this film was FAITHFUL, in every sense of the word, to its source material. One can't give such a statement about films these days.

Amazing casting, terrific musical score, and mind-blowing sets, cinematography, and direction, "1984" is surely a unique treasure, and one that still retains the same timeless messages even decades since its release.

From the opening shot of "Nineteen Eighty Four" the viewer is plunged right into the hellhole of Oceania and the ultimate totalitarian nightmare. Whilst the year 1984 may be long past us, the essential themes of George Orwell's best known work still remain as timely and as relevant as ever.

Winston Smith (John Hurt) is a drone worker in the Bureau of Information, and his job is to edit the news in accordance with the needs of the governing Party (which is in continual, seemingly endless war with Eurasia and other opposing states). He must also refer to the dictionary of Newsspeak, which is the government's language for the distribution of information.

He lives in a world where there is no escape from the authority of the government who regiment the every thought and deed of their subjects. The Party is steadily working on a way to outlaw the concept of the family and the idea of conception. This is done to eradicate Thoughtcrime and guarantee the worker's total devotion to the Party and its leader, Big Brother.

Winston abides by this (recording his increasingly ambiguous thoughts about society in a hidden, handwritten diary) until he encounters Julia (Suzanna Hamilton), a strange young women with rebellious ideas, to whom he develops a powerful attraction. But their passionate, forbidden relationship cannot escape the all-seeing eyes of Big Brother.....

Screenwriter Jonathan Gems has a done a terrific job with the script. He successfully translates Orwell's ideas to the screen with great clarity. Micheal Radford directs with subtlety around the greasy sets and crumbling locations (the picture was filmed in and around the very area in which Orwell set his novel).

The performances from the chief principals are very strong. John Hurt is excellent as Winston, bringing a subtle and considerate approach to the character. Particularly disturbing is his final scenes, as he becomes gaunt and disfigured through government torture. Suzanna Hamilton is gentle and quirky as Julia and "Rab C Nesbitt" actor Gregor Fisher appears as Winston's ill-fated friend, Parsons.

Veteran actor Richard Burton lends a cold charisma to government enforcer O'Brien and he too excels in the film's final moments, as he coolly and sadistically tortures Winston, subjecting him to severe physical pain to subdue him, casually pulling a tooth out of his rotting mouth, then exposing him to the horrors of Room 101, all the while exhorting obedience to the Party and love to Big Brother.

The strong relevance of the concepts of "Nineteen Eighty Four" should not be underestimated. Whilst the term "Big Brother" is now synonymous with the ridiculous "reality" TV shows of the same name, others like the Two Minutes Hate (in which the workers are coerced, through a two-minute broadcast, into hating the enemies of the state); the idea of a government waging a perpetual war to advocate "peace" (especially relevant in the aftermath of September 11) as well as the editing of news and the abuse of language in order to suit the needs of government and disguise its true agendas are ideas that are chillingly present in today's society.

All of this is powerful and thought-provoking stuff, and helps to make "Nineteen Eighty Four" an accurate and powerful rendering of a still very timely piece of work.

Winston Smith is bound inside a cage, he's upset all of the folks that pay his wage, by not dancing to the tune, of the Oceania goon, and ignoring all his righteous propaganda. To begin with, he's not thinking as he should, his maths is very poor, and that's not good, plus he's finding lots of time, to commit a sexual crime, by taking his young love into the woods. But Big Brother has a way that he can smother, and O'Brien is a rather vengeful mother, observation sets the trap, then you're caught like a starved rat, and there's nowhere you can run, or look for cover. Just imagine if your world was always seen, there were cameras to report where you had been, a device always recording, what you say, knows what you're hoarding, you spend your time with it just looking at its screen.

God forbid!

So you feel like renting a movie. After a slow drive to the video store in which you try to avoid the police from extorting you, you enter a video store with enough security cameras to see parts of you that you've never seen. You would rent some porno but today you'll be paying in credit card and you sure don't want that census taker knowing you've seen all 50 volumes of clamlappers. So instead you rent 1984. The zit face behind the counter scan your card and instantly your personal information and spending history is all over the internet. When you get back home you pop in the tape, you would have a joint, but the government has decided that pot isn't in your best intrest. Neither is beer, cigarettes, fatty foods, caffine, red meat, abortions, pornography,flag burning, sex in general or any of the other things you use to enjoy. You sit down to watch your movie and relax the rest of the night when storm trooper-like police bust down your door and carry you away. Seems renting 1984 set off an alarm in all local police computers and got you on the thought police's wanted list. You should know better then to oppose your government in any way, shape, or form. You would fight back but all those gun laws eventually equled up to a ban on the second amendment. Sound like an impossible world? Sounds fictional? Watch it then take a look at the world around you. Your half way there. Enjoy what freedoms you have left before they're gone. I'm sure one day this movie will be considered illegal.