Movies that are slightly off.
Aflame with the excitement and emotions of tomorrow!
In the future, an oppressive government maintains control of public opinion by outlawing literature and maintaining a group of enforcers known as "firemen" to perform the necessary book burnings. This is the premise of Ray Bradbury's acclaimed science-fiction novel Fahrenheit 451, which became the source material for French director François Truffaut's English-language debut. While some liberties are taken with the description of the world, the narrative remains the same, as fireman Montag (Oskar Werner) begins to question the morality of his vocation. Curious about the world of books, he soon falls in love with a beautiful young member of a pro-literature underground -- and with literature itself.
“The only way to be happy is for everyone to be made equal.”
It is a serene community. Low-slung houses, uniform of appearance, line the streets. Reed-like trees keep visibility at a maximum. Earth tones dominate the color palette, except for the occasional vermillion box with a blue light on top so as to catch the eye of would-be informants. Within these homes, bored civilians watch large flat-screen television sets from which talking heads issue assurances of social harmony. To and from work, one takes the train, taking care not to speak to fellow passengers. It all seems rather ordinary. Except that everyone is always stroking themselves and their clothing, an apparent epidemic of rather reserved heavy petting. The human…
Review In A Nutshell:
Fahrenheit 451 follows the story of a world where books are forbidden by law and firefighters are present to ensure they are perished via fire, and one firefighter starts to have second thoughts about his profession.
The first thing came into my mind when watching this film is the similarities this film has with A Clockwork Orange and Brazil, the similarities is found in its visual atmosphere, creating this dystopian environment, but what makes this film different from the two films I mentioned is its dystopia is found internally within its characters. The physical environment that these characters live in are actually close to home, aside from a couple of "improvements" like the wall screen. Truffaut…
"You're not living - you're just killing time!"
Film #5 of NoeHat's Scavenger Hunt Challenge-- a film with a number in the title!
Guy Montag's world doesn't exist; it couldn't exist. How could anyone be able to read at all in a society that anathemizes the printed word? How are all the complicated electronics built without manuals and blueprints and physics textbooks? How are records maintained with nothing but numbers and photographs?
But guess what? Big Bad Wolves and gingerbread houses don't exist either. This world's very un-reality forces us to compare the details to our own reality.
Consider: The first thing I do when I wake up is look at my phone or tablet. Then I turn on music…
"We're a minority of undesirables, crying out in the wilderness. But it won't always be so. One day we shall be called on one by one to recite what we've learned. And then books will be printed again. And when the next Age of Darkness comes, those who come after us will do again as we have done."
Okay, I just finished a second viewing today, thinking especially about the ending scene with the Book People.
The New Testament says, "The Word of God is living and active". That's a good picture. For me, it isn't that the Book People have fallen into a conformity of their own (though outwardly that may be how it looks). I see the film as a fairy tale. The fact that these Words are moving around, walking from place to place means they are alive. They can't die just because copies have been burned. They thrive. And they survive.
Adaptation to film of novels that are so intrinsically about books doesn't (or shouldn't) really make any sense. Francois Truffaut's first colour film, and his only in English, overcomes this hurdle well, adding some distinctly cinematic touches to add extra depth to the already strongly thematic source novel.
What makes the films of the French New Wave is the eternal desire for experimentation. Although the playful use of unconventional techniques is not as prevalent in 'Fahrenheit 451' as in Godard's similar 'Alphaville', it still gives the film energy that it would otherwise lack. A particularly nice, subtle touch was the initial titles being spoken, hinting to the abolition of books and writing in general that is the main focus of…
Much better the second time around.
Francois Truffaut's clear discomfort with the English language and overriding interest in the bare metaphorical bones of Bradbury's story leads to an awkward film that can't decide if it's a potent allegory or a sci-fi satire. I normally adore Julie Christie but here she's cast in two roles for no readily apparent reason and doesn't do well in either, while Oscar Werner is a blank as our hero; only Cyril Cusack's disappointed surrogate father really registers. By the end you're pretty sure the thing's having you on with a parade of quirky hipsters spouting book titles like extras from a less successful episode of The Prisoner.
Pales in comparison to the world-building of BRAZIL and 1984, but even as a standalone feature this feels lacking in so many ways. If anything, it made me want to read the book.
Even if the story was slight, I hoped Truffaut's artistic skills would bring the film as a whole to life and unfortunately this is a very run of the mill pre-STAR WARS sci-fi adaptation, the kind Woody Allen made fun of in SLEEPER. Oscar Werner seems sorely miscast and empty in the role of Montag, while Julie Christie would have been better served not splitting her time and effort between two parts.
There are a handful of through provoking moments, but nothing hit in an everlasting way.…
Truffaut brings subdued philosophical subject to the forfront of a fantastic and surreal dystopian disaster epic.
Beautiful and riveting
Truffaut picks the best titles.
A great sci-fi film: Thought-provoking, forewarning, and predictive.
"Mantenha-os ocupados, e eles se ficarão felizes. É só o que importa."
Não há nada mais danoso a humanidade do que o cárcere do pensamento que limita um indivíduo a seguir um padrão de comportamento para que se possa controlar o grupo e assim manter a ordem. E é disso que Fahrenheit 451 trata, um estado totalitário que visando a ordem destrói qualquer forma de pensamento livre, seja ao proibir e queimar livros ou impedir que um jovem use um corte de cabelo fora do padrão.
O uso de mídias de massa é usado em peso junto com o incentivo a ingestão de medicamentos, e quando as pessoas se reúnem, obviamente estão em volta da televisão se mantendo ocupadas e…
Watched for Letterboxd Season Challenge 2015-16
Week 24: French New Wave Week
I love the book. It is on my number 2 on the trifecta of classic dystopian censorship/conformity spectrum literature. Nothing can beat 1984.
So, I was a bit surprised that an auteur like Truffuat was making a highly popular book into a movie. That is so not like how the system works. But he managed to carve out a movie that is singularly his own. He got rid of a lot of sci fi elements of the novel and gave an abstract, melancholy and artsy feel to the movie. It is a bleak and depressing movie, perfectly in line with the world on display. Dreary, mundane, everything-looks-same aesthetic…
avant garde maass
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