1984 (1984) - IMDb IMDb There was an error trying to load your rating for this title. Some parts of this page won't work property. Please reload or try later. X Beta I'm Watching This! Keep track of everything you watch; tell your friends. Error In a totalitarian future society, a man whose daily work is rewriting history tries to rebel by falling in love. Director: a list of 25 titles created 09 Jan 2012 a list of 40 titles created 27 Mar 2012 a list of 27 titles created 26 Aug 2013 a list of 33 titles created 17 Mar 2014 a list of 30 titles created 11 months ago Search for " 1984 " on Amazon.com Connect with IMDb Want to share IMDb's rating on your own site? Use the HTML below. You must be a registered user to use the IMDb rating plugin. Nominated for 1 BAFTA Film Award. Another 5 wins & 1 nomination. See more awards » Videos Edit Storyline After The Atomic War the world is divided into three states.

London is a city in Oceania, ruled by a party who has total control over all its citizens. Winston Smith is one of the bureaucrats, rewriting history in one of the departments. One day he commits the crime of falling in love with Julia. They try to escape Big Brother's listening and viewing devices, but, of course, nobody can really escape... Written by Mattias Thuresson The year of the movie. The movie of the year. See more » Genres: 22 March 1985 (USA) See more » Also Known As: Annie Lennox : Uncredited, the Eurythmics lead singer as a woman at a rally. See more » Goofs Winston reads a newspaper article titled "INSOC IN RELATION TO CHESS BROTHER WINS." The party name should be spelled "INGSOC." See more » Quotes [first lines] Big Brother : [voice-over] This is our land. A land of peace and of plenty. A land of harmony and hope. This is our land. Oceania. These are our people. The workers, the strivers, the builders. These are our people. The builders of our world, struggling, fighting, bleeding, dying.

On the streets of our cities and on the far-flung battlefields. Fighting against the mutilation of our hopes and dreams. Who are they? See more » Crazy Credits The movie begins with the title "Who controls the past controls the future. Who controls the present controls the past." See more » Connections Written & Performed by The Eurythmics (VHS version only) One of the great screen adaptations 31 October 2003 | by quixoboy (Ottawa, Ontario) – See all my reviews 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. 75 of 98 people found this review helpful. Was this review helpful to you?

Yes Amazon.com: 1984: John Hurt, Richard Burton, Suzanna Hamilton, Cyril Cusack: Amazon Digital Services LLC By school living club on April 28, 2014 Format: DVD Verified Purchase A great movie, but this version (MGM 2003) is not correctly colored. The beautiful bleach bypass processing (seen in the streaming Amazon Prime version) is not used on this transfer. Instead, this DVD, taken from a film inter-positive, is garish and looks like video with cardboard sets. See the example I posted under photos. On his website, Roger Deakins, cinematographer of the film stated-- "We used a bleach bypass process for all the prints of '1984'. It was the first time that this particular process was used on a feature film, as far as I know, and was created by Kay's lab in the UK. The process adds contrast as well as desaturates the image due to the retention of the developed silver in the emulsion. It gives the projected image a kind of luminous quality.

Sadly, some of the latest DVDs do not reflect our original intentions as the distributer has not matched to a print but just taken a transfer from an IP, which, of course, is in full colour. That's more than annoying as some of the costumes and sets were actually over saturated in order to compensate for the kind of processing we were using." 1984 by Michael Radford |John Hurt, Richard Burton, Suzanna Hamilton | 644827235827 | DVD | Barnes & Noble® Videos Overview Directed by British filmmaker Michael Radford, Nineteen Eighty-Four is the second film adaptation of the George Orwell novel. The film is set during April of 1984 in post-atomic war London, the capital city of the repressive totalitarian state of Oceania. Winston Smith (John Hurt) is a government bureaucrat whose job is rewriting history and erasing people from existence. While his co-worker Parsons (Gregor Fisher) seems content to follow the state's laws, Winston starts to write in a secret diary despite the fact the "Big Brother" is watching everyone at all times by way of monitors.

He silently suffers and tries to comprehend his oppression, which forbids individual human behaviors such as free thinking and sex. He meets Julia (Suzanna Hamilton), who works for the Ministry of Truth, and they engage in a stoic love affair. They are soon found out, and Winston is interrogated and tortured by his former friend O'Brien (Richard Burton in his final film appearance). Advertising Editorial Reviews All Movie Guide - Andrea LeVasseur Filmed during the actual dates in 1984 as described in the book, Michael Radford's adaptation is the preeminent film version of George Orwell's infamous novel. The stark gray settings effectively set the mood of a totalitarian state. John Hurt is a beaten-down Winston, whose weathered face shows every result of his tortured existence, especially during the final devastating scenes with the Thought Police. Suzanna Hamilton does what she can as Julia, bringing some human warmth to the otherwise grim and desolate surroundings. In the last performance before his death, Richard Burton conveys Inner Party member O'Brien with a strange fatherly compassion that makes his sadistic role all the more disturbing.

In contrast to some other flashy and visually inventive future dystopia movies, 1984 focuses on the plight of humans with an austere landscape, washed-out colors, and severe close-ups signifying the omnipresence of Big Brother. In general, 1984 faithfully follows the book in story, character, and tone, which makes for an authentic if thoroughly depressing and slow-paced movie. Product Details DVD Savant Review: Nineteen Eighty-Four Nineteen Eighty-Four 1984 / Color / 1:78 anamorphic 16:9 / 113 min. / Street Date March 4, 2003 / $19.98 Starring John Hurt, Richard Burton, Suzanna Hamilton, Cyril Cusack, Gregor Fisher, James Walker Cinematography Annie Lennox, Dominic Muldowney, David A. Stewart Written by Produced by Al Clark, Robert Devereux, Simon Perry, Marvin J. Rosenblum Directed by Michael Radford Reviewed by Glenn Erickson George Orwell's 1948 novel 1984 is probably the most important political book of the last century.

A story of a very possible dystopia, it outlined a totalitarian society's ability, through modern technology, to completely control the actions of a captive population, and their thoughts as well. Orwell meant it not as a tract specifically against Communism, as we were taught in school, but about Totalitarianism as practiced by Stalin or Hitler. This film version stars an excellent John Hurt, features Richard Burton in his last role, and has a lot to recommend it, even if it fails to deeply move us. Orwell's thin book is a riveting read that had us checking behind wall decorations for hidden Viewscreens - this version gets the letter of the book's descriptions, and reproduces a lot of its dialogue, but it doesn't capture the novel's baleful horror. Synopsis: In the totalitarian state of Oceania, a lowly outer party functionary, Winston Smith (John Hurt), toils at his job rewriting bits of history, while secretly nurturing his own petty rebellion against conformism. There's no escaping the ever-present Viewscreens installed in every room, that allow the thought-police to watch every citizen - hence the sinister motto, Big Brother is Watching You.

With a female co-rebel named Julia (Suzanna Hamilton), Winston finds a rented room without a Viewscreen. They meet there for forbidden sex, and wonder if there really is a resistance movement somewhere, that they might join. As Thought Criminals like themselves are always caught, Julia and Winston consider themselves doomed, but swear to retain their human dignity by never betraying one another. Unfortunately, Smith's inner party contact O'Brien (Richard Burton) turns out to be his inquisitor, and he knows exactly how to crush Winston's will ... In the 1950s, there were two versions of this tale. A 1954 BBC television production was written by Nigel Kneale (of Quatermass fame) and starred Peter Cushing. It was a huge success and gave both talents a big lift. A 1956 film version directed by Michael Anderson became unavailable in the 1970s because the Orwell estate disapproved of it - an ironic echo of the historical revisionism done by Winston Smith in the story itself.

Starring Edmond O'Brien and Jan Sterling, it had the gall to be released with two endings - one of which showed Smith and Julia rebelling against Big Brother and being shot down for their trouble. Of yet, critics haven't demanded its revival. Michael Radford's version was, as its trailer proudly boasts, shot in April of 1984. It's an accurate but limited interpretation that has less impact than it should, if only because most of the original novel's ideas were long ago employed for science fiction and spy movies. In dystopian thrillers, the concept of televisions that monitor citizens and rob them of their privacy is now a given. The onslaught of state propaganda screaming out lies from every direction, is the modern world of advertising simply turned political. The shrill, authoritarian cadence of 1984's war news, with its inducements to rage and carefully-selected 'human interest' stories, have also certainly come to pass. 1 Looking like a bombed England immediately after the war, the fictional land of Oceania is a blighted place that isn't even trying to recover - poverty and despair help keep Big Brother in power.

Like America, Oceania is perpetually at war, with enemies that seem to be arbitrary. Constantly striving to keep up production, and fueled by lies and fantasies hurled at them 24 hours a day, the citizens of Oceania live in a constant state of terror. Thanks to its ability to monitor the activities of each individual, and its Stalinist culture of denouncement and betrayal, the all-powerful government in Nineteen Eighty-Four cannot be opposed or avoided. Constant intimidation keeps everyone on their best behavior, as the neighbor's kid might turn one in at any time. With each individual striving to appear to be faithful to the party, knowing that he might be unfairly denounced at any moment, resistance has no chance to even get a foothold. The party has a surfeit of candidates confessing to fictional crimes, displayed in televised daily show trials. Open questioning of anything, even a detail like the quality of the food in the cafeterias, is extremely risky. The party demands that its citizens cease to function as people (no sex, no marriages, no families) and devote themselves 100% to the state.

Winston Smith's dilemma is that he hasn't shaken his personal identity, and he can't avoid seeing the implications of the lies on the Viewscreens - some of which he manufactures himself at his day job. Radford's Nineteen Eighty-Four can't match the poetry of Orwell's prose, or accurately depict the full depth of Winston Smith's paranoid state of terror. The rubble-strewn alleys and bedraggled citizens are made of the same generic stuff as dozens of post-apocalyptic thrillers (there's a passing mention of atomic wars). Cinematically, the next year's Brazil far outdistanced this film by turning Orwell's world into a fantastic freak show. It retained the pre-computer bureaucratic ugliness of Winston's work life, but added an irresistable element of macabre humor. Radford contributes only a couple of simple but effective conceits of his own, specifically a vision of a doorway to peace and contentment on a grassy hill. It works well enough as an emotional contrast to the colorless cold and pain of Winston's confinement. One plus for this newer version has is that it alludes to some interesting unseen truths of Winston Smith's society, which manufactures Big Lies to delude its citizens.

Although the propaganda drones on with reports of a traitorous resistance movement, there is none, only passive noncompliance with Big Brother's edicts. The constant hyping of traitors and terrorists is used to keep the population in line. The possibly fictional Big Brother has a probably fictional enemy counterpart, an intellectual with a Jewish-sounding name. The war may actually be real - Oceania is certainly aggressive enough to have trouble with its neighbors - but its true nature is difficult to assess. We see no soldiers on leave, but in a society without families, who needs leave? The real war of Nineteen Eighty-Four is being waged by a government on its own citizens, where the leaders frame the issues in simple lies: 'freedom, victory, righteousness' and create villains and enemies upon which a frustrated citizenry can vent its rage in organized Hate rallies. With enough propaganda weaponry, the leaders can fabricate an entire fantasy of lies, and force the population to believe them. John Hurt makes a fine Winston Smith, small and ineffectual but showing a dangerous spark of independence in his sad eyes. Richard Burton is less apt as his tormentor O'Brien, and most of his dialogue seems to be verbatim catchphrases from the novel.

Suzanna Hamilton makes Julia the perfect female thought criminal. All she wants to do is behave in a human manner, but the state wants behavior and thought controlled to the point where people no longer own their own bodies. The vague hopelessness of the lovers' quiet rebellion is thrilling and depressing at the same time. Cyril Cusack is a nice reminder of the derivative Fahrenheit 451, but hasn't much to do. The smaller part of a downtrodden citizen named Parsons is well-played by Gregor Fisher. Excellent extra casting pegs Oceania's average citizens with chilling accuracy - these people really do look and act like lumpen proles manipulated by fear. The recreation of the world of Nineteen Eighty-Four is accurate, but, as I said before, familiar from the borrowings of other films. Radford's flashbacks to Smith's youth are less successful; the most wrenching book passages for Savant were those with Smith and his mother and sister, living in wretched, hopeless misery. 2 The terror scenes of Winston Smith's torture, one of the first widely-circulated accounts of what has become a standard tool in modern politics, are rather dry and unmoving.

Poor Smith's prognosis is so hopeless, there's little room for involvement. We certainly see why he would break his pact and denounce Julia, but we don't quite experience the breaking of his spirit, which is the true purpose of the torture sessions. It's an aesthetic problem - externalizing Smith's emotional convulsions with more theatrics (as Edmond O'Brien certainly did) might defeat the sombre tone the director has carefully built up. Curiously, Terry Gilliam's Brazil, cloaking its terror behind a smokescreen of black humor, reinterprets 1984 more effectively than Radford's more accurate retelling. Michael Palin's torture scenes in the giant, Quatermass-like dome are funny and appalling at the same time. MGM's DVD of Nineteen Eighty-Four has met with a mini-controversy on the web; its nicely-transferred image is reportedly much brighter and colorful than the original theatrical prints, which enforced an even darker and oppressive look onto the picture. Other than that major aesthetic shift away from the director's intentions (!), there's nothing to complain about, as the print and the track are in fine shape.

The only extra is a trailer that makes an effort to educate audiences about the relevance of Orwell. On a scale of Excellent, Good, Fair, and Poor, Nineteen Eighty-Four Footnotes: 1. 1984's waters run deep in film culture, in movies big and small. Fritz Lang's The 1,000 Eyes of Dr. Mabuse , with its spy hotel wired with hundreds of television cameras, remains the ultimate statement on surveillance and techno-voyeurism. Dozens of dystopian futures owe Orwell everything, from Logan's Run to Scream and Scream Again , to George Lucas' THX 1138. Strain somewhat, and James Bond can be seen as a royalist backlash against socialist gangsters and their techological conspiracies. England's socialist tendencies prove to be a perfect target for outerspace invaders in Quatermass 2 : the aliens find the regimented, secrecy-obsessed bureaucracy easy to infiltrate, and mimic it with their own totalitarian regime. Return 2.

the book was an eye-opener to the true nature of the world, when I, a protected middle-class kid of the early 60s, first read it in the 5th grade. The horror of a newsreel inviting us to cheer as refugee boats of women and children are machine-gunned from the air ... 1984 may have coined the use of helicopters as the weapon of choice in science fiction - sinister metal dragonflies that can harass and dog helpless individuals on the ground. A hovering helicopter's movement isn't fluid, but instead directly reflects its pilot's slightest guidance ... it's a faceless technical amplification of his will. Nineteen Eighty-Four – Trailers From Hell Al Clark, Robert Devereux, Simon Perry, Marvin J. Rosenblum Directed by Michael Radford Reviewed by Glenn Erickson George Orwell’s pessimistic 1948 novel 1984 is probably the most important political book of the last century. A story of a very possible dystopia, it outlined the ability of a regime with modern technology to control completely the actions and even the thoughts of a captive population.

Orwell meant his statement against Totalitarianism to apply to his own England, then war-weakened and experimenting with socialist solutions. When we American kids were allowed to read 1984 in school, it was specifically described as an exposé against Communism. That’s certainly accurate when applied to a monster like Joseph Stalin, who would have loved to wield the surveillance tools available today. It would seem obvious that a producer would try to adapt the book in the ‘future’ year in which it is set. Michael Radford’s Nineteen Eighty-Four stars an excellent John Hurt, features Richard Burton in his last role, and has a lot to recommend it. Orwell’s book is real scare fiction, paranoia bait that had us checking behind wall decorations for hidden Viewscreens. This version gets the letter of the book’s descriptions, and faithfully reproduces its content and much of its dialogue. But it doesn’t quite capture the full measure of the novel’s baleful horror. I’m not sure anybody would want to see that movie — the book’s ‘Two Minute Hate’ spectacles use military atrocity footage.

In the totalitarian state of Oceania, lowly outer party functionary Winston Smith (John Hurt), toils at his job rewriting bits of history, while secretly nurturing his own petty rebellion against conformism. There’s no escaping the ever-present Viewscreens installed in every room, that allow the Thought Police to watch every citizen; hence the sinister motto, Big Brother is Watching You. With a female co-rebel named Julia (Suzanna Hamilton), Winston finds a rented room without a Viewscreen. They meet there for forbidden sex, and wonder if there really is a resistance movement somewhere, that they might join. As Thought Criminals are always caught, Julia and Winston consider themselves doomed, but swear to retain their human dignity by never betraying one another. Unfortunately, Smith’s inquisitor turns out to be his inner party contact O’Brien (Richard Burton), who knows exactly which fear buttons to push to crush Winston’s will. Two versions of this tale were produced in the 1950s. A 1954 BBC television production was written by Nigel Kneale (of Quatermass fame) and starred Peter Cushing. A huge success, it gave both talents a big career lift.

A 1956 film version directed by Michael Anderson became unavailable in the 1970s because the Orwell estate disapproved of it — an ironic echo of the historical revisionism done by Winston Smith in the story itself. Starring Edmond O’Brien and Jan Sterling, it was released with two different endings — one of which didn’t show Smith and Julia rebelling against Big Brother and being shot down for their trouble. Of yet, critics haven’t demanded its revival. When ‘buried’ movies are discussed it is often mentioned in tandem with Joseph Losey’s “M”. As both movies were Columbia releases, is Twilight Time perhaps in a good position to debut them on disc? Michael Radford’s version was, as its trailer proudly boasts, filmed in April of 1984. It’s an accurate interpretation that has less impact than it might, if only because most of the original novel’s ideas were long ago scavenged for movies with science fiction and espionage themes.

The concept of televisions that monitor citizens and rob them of their privacy is now a given in dystopian thrillers – and of course also in real life, where Internet-enabled televisions may be keeping track of what we watch, for ‘marketing purposes.’ The book’s onslaught of state propaganda lies only seems fully alive in Television political ad campaigns. The shrill, authoritarian cadence of Orwell’s war bulletins, with their inducements to rage and carefully-selected ‘human interest’ stories, have also certainly come to pass. 1984 has made a broad mark in film culture, in movies big and small. Fritz Lang’s The 1,000 Eyes of Dr. Mabuse , with its spy hotel wired with hundreds of television cameras, remains the core statement on surveillance and techno-voyeurism. Dozens of fictitious dystopian futures owe a debt to Orwell, from Logan’s Run to The Prisoner to Scream and Scream Again , to George Lucas’ THX 1138 .

England’s socialist infrastructure proves to be a perfect target for outer-space invaders in Quatermass 2 : the aliens find the regimented, secrecy-obsessed bureaucracy easy to infiltrate, and easy to transform into a centralized totalitarian regime. Stretch the idea a bit, and James Bond can be seen as a royalist backlash against socialist gangsters and their technological conspiracies. Radford sticks with the original book’s conception of dystopia. Several decades and ‘atomic wars’ after The Blitz, the fictional land of Oceania still looks like a bombed and blighted ruin. It isn’t even trying to recover, as poverty and despair help keep Big Brother in power. Oceania is perpetually at war, with enemies that seem to be arbitrary. Constantly striving to keep up production and fueled by lies and fantasies hurled at them 24 hours a day, the citizens of Oceania live in a constant state of terror. With its ability to monitor the activities of each individual, and its Stalinist culture of informing and betrayal, the all-powerful government in Nineteen Eighty-Four cannot be opposed. Constant intimidation keeps all on their best behavior, and any individual might be unfairly denounced at any moment.

The party has a surfeit of candidates confessing to fictional crimes, displayed in televised daily show trials. The party demands that its citizens cease to function as people (no sex, no marriages, no families) and devote themselves 100% to the state. The news blurbs pretend that a resistance exists to enforce a constant state of vigilance. Winston Smith’s dilemma is that he hasn’t shaken his personal identity. He can’t avoid seeing the implications of the lies on the Viewscreens — some of which he manufactures himself at his day job. Nobody should expect Radford’s Nineteen Eighty-Four to match the poetry of Orwell’s prose, or accurately depict the full depth of Winston Smith’s paranoid state of terror. The rubble-strewn alleys and bedraggled citizens are made of the same generic stuff as dozens of post-apocalyptic thrillers. Cinematically, the next year’s Brazil is to Nineteen Eighty-Four what Dr. Strangelove was to Fail Safe — the ‘comic’ version that communicates the basic concept better than the straight version. Brazil outdistanced this film by turning Orwell’s world into a fantastic freak show with an irresistible element of macabre humor.

Radford does contribute effective new ideas of his own, specifically a vision of a doorway to peace and contentment on a grassy hill. It provides a welcome if fleeting emotional contrast to the colorless cold and pain of Winston’s confinement. John Hurt makes a fine Winston Smith, small and ineffectual but with sad eyes that reveal a dangerous spark of independence. Richard Burton is less apt as his tormentor O’Brien. Most of his dialogue seems to be verbatim catchphrases from the novel, delivered in the same quasi-menacing monotone. Suzanna Hamilton makes Julia the perfect female thought criminal. All she wants is to live like a human being, but the all-controlling State has brought things to a point where people no longer own their own bodies. The vague hopelessness of the lovers’ quiet rebellion is thrilling and depressing at the same time. Cyril Cusack’s petty functionary is a nice reminder of the derivative Fahrenheit 451 , but he hasn’t much to do. The smaller part of a downtrodden citizen named Parsons is well played by Gregor Fisher. Excellent extra casting pegs Oceania’s average citizens with chilling accuracy — these people really do look and act like lumpen proles manipulated by fear.

The recreation of the world of Nineteen Eighty-Four is accurate, but, as I said before, familiar from the borrowings of films, plays and stories beholden to Orwell’s original concept. Radford’s flashbacks to Smith’s youth pale next to those in the book. I read 1984 in the fifth grade, hiding the book from a substitute teacher who thought it too adult for me. The sex passages were notable, but the most wrenching parts of the book were the flashbacks with Smith and his mother and sister, living in wretched, hopeless misery. The terror scenes of Winston Smith’s torture seem somewhat muted in Radford’s version, mainly because such scenes are so common now; we’re accustomed to downbeat stories of apocalyptic doom. Poor Smith’s prognosis is so hopeless, there’s little room for involvement. We certainly see why he would break his pact and denounce Julia, but we don’t quite experience the breaking of his spirit, which is the true purpose of the torture sessions. It’s an aesthetic problem: externalizing Smith’s emotional convulsions with more theatrics (as Edmond O’Brien certainly did) might defeat the somber tone the director has carefully built up.

Curiously, Terry Gilliam’s Brazil reinterprets 1984 more effectively than Radford’s more accurate retelling, by cloaking its terror behind a smokescreen of black humor. Michael Palin’s torture scenes in the giant, Quatermass-like dome are simultaneously funny and appalling: even as Jonathan Pryce perishes, he thinks he’s achieved Nirvana. The Twilight Time Blu-ray of Nineteen Eighty-Four goes the extra mile to correct the color of earlier video versions of Michael Radford’s film. Original prints were dark and de-saturated, but from its cable TV premiere forward the show has been given a less extreme, more colorful transfer. Filmmakers striving to give their work a ‘special’ visual appearance are often frustrated when video versions revert to whatever some potentially uniformed video technician thinks is ‘better.’ Some home video outfits make an effort to reproduce an original theatrical appearance, but some video labs operate like factories.

It is common for scenes filmed Day For Night to come out looking like high noon, and a moody James Bond film was re-timed as brightly as a sitcom, so it’s a lot to ask for a video company to approximate the original appearance of unusual shows like John Huston’s Moby Dick (promised from Twilight Time) and Reflections in a Golden Eye , or Ettore Scola’s A Special Day . Happily, MGM’s encoding, from 2004 makes an effort to replicate Radford’s original color design. Colors are indeed dulled. I expected the dream sequences set in green fields to be contrastingly bright and cheery, but they show only a little more chroma. The effect is more exact. Combine that with the sharp image and widescreen aspect ratio, and the proper mood of proletarian misery comes through. The other big news is the re-introduction of director Radford’s original soundtrack choice, an orchestral score by Dominic Muldowney. A fanfare (“Oceania, ‘Tis For Thee”? ) sounds like a cue from Holst’s The Planets.

The producers reworked some tracks — I noticed a vocal over the end credits on one version that’s not there on the other. The score hasn’t been replaced, but just augmented with some tracks by the Eurythmics. It’s the Eurythmics version that I’ve always heard. Twilight Time gives viewers the choice of either mix, finally bringing the problem to an end. This is the quality custodianship that shows TT at its best. An original trailer billboards the Eurythmics tracks, with Annie Lennox. The other official extra is an Isolated Score Track, of the Eurythmics version only. Julie Kirgo’s liner notes sketch the significance of Orwell’s book and the movie version with clarity and precision, touching lightly on the effective performances. She notes the pathetic lovers looking skinny and pale, knowing that failure and arrest are unavoidable. Ms. Kirgo also touches on the video recovery of the film’s original look, telling us that the photochemical process used to achieve the muted prints was called ‘bleach bypass.’ Today, any kid with a good eye and nimble fingers can do far more on a simple PC.

Last note — those of us around and thinking back in the real 1984 will remember the book’s biggest culture appearance of the year – as referenced in an epochal promotional TV ad for the Apple Macintosh. On a scale of Excellent, Good, Fair, and Poor, Nineteen Eighty-Four Blu-ray 1984 (1956) - IMDb IMDb There was an error trying to load your rating for this title. Some parts of this page won't work property. Please reload or try later. X Beta I'm Watching This! Keep track of everything you watch; tell your friends. Error George Orwell's novel of a totalitarian future society in which a man whose daily work is rewriting history tries to rebel by falling in love. Director: Michael Anderson Writers: George Orwell (freely adapted from the novel by: "1984"), William Templeton (screenplay) (as William P.

Templeton) | 1 more credit » Stars: 7 February 2005 4:34 AM, -08:00 | WENN Around The Web a list of 44 titles created 06 Sep 2012 a list of 25 titles created 24 Aug 2013 a list of 49 titles created 16 Feb 2014 a list of 34 titles created 23 May 2015 a list of 22 titles created 1 day ago Search for " 1984 " on Amazon.com Connect with IMDb Want to share IMDb's rating on your own site? Use the HTML below. You must be a registered user to use the IMDb rating plugin. In a totalitarian future society, a man whose daily work is rewriting history tries to rebel by falling in love. Director: Michael Radford New World Order: The Conspiracy to Rule Your Mind chronicles how the ruling elite have established global domination and the ability to effect the thoughts, decisions, and world view of ...

See full summary » Director: Chris Turner "Four Episodes From 1984" contains eight scenes from a screenplay based on George Orwells "Nineteen Eighty-four"... See full synopsis » Director: Marshall Peterson A successful farmyard revolution by the resident animals vs. the farmer goes horribly wrong as the victors create a new tyranny among themselves. Directors: Joy Batchelor, John Halas Stars: Gordon Heath, Maurice Denham Party member Winston Smith commits the ultimate crime by falling in love with Julia. Director: Martin Knowles Edit Storyline In a futuristic, state-run society controlled by "Big Brother" in which love is outlawed, employee of the state Winston Smith falls for Julia, and is tortured and brainwashed for his crime. Written by Marty McKee <mmckee@wkio.com> Will Ecstasy Be a Crime ...In the Terrifying World of the Future? See more » Genres: September 1956 (USA) See more » Also Known As: Barry Sullivan was among the actors thought suitable for Winston Smith. See more » Connections (United States) – See all my reviews ......is even better (wanna see St. Pete's classic?

Feel free to contact wnstn_hmltn@yahoo.com for a copy). 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. 7 of 10 people found this review helpful. Was this review helpful to you?

Yes ƒιℓм: Nineteen Eighty-Four (1984) - YouTube ƒιℓм: Nineteen Eighty-Four (1984) 2,177 views Last updated on Oct 2, 2016 Nineteen Eighty-Four (sometimes 1984) is a British film, released in 1984, based upon George Orwell's novel of the same name, following the life of Winston Smith in Oceania, a country run by a totalitarian government. The film was directed by Michael Radford and stars John Hurt, Richard Burton (in his last film role) and Suzanna Hamilton. Synopsis: A man whose daily work is rewriting history tries to rebel by falling in love. less Nineteen Eighty-Four (sometimes 1984) is a British film, released in 1984, based upon George Orwell's novel of the same name, following the life of Winston Smith in Oceania, a country run by a totalitarian government. The film was directed by ...

more 1984 [VHS]: John Hurt, Richard Burton: Amazon.co.uk: Video By Tim Bentley on 4 Jun. 2006 Format: DVD Verified Purchase George Orwell wrote the prophetic words "Freedom is the right to say two plus two equals four" in his novel 1984, a right denied to the people by the fictional government of his book. Many readers drew parallels between the Ingsoc dominated Oceania to Soviet Russia, an analog that remained true until the collapse of the Eastern Bloc. Today, however, the right to state a simple truth is also threatened and a number of precepts from 1984 appear to apply. Consider "Who controls the past controls the future", the function of the Ministry of Truth where the main protagonist Winston Smith works editing the documented past to support the will of the government in the name of democracy and freedom. Ring any bells? This movie version (and there've been a few) is in my opinion the most complete version painting an horrific picture of an oppressed distrusted people dominated by a brutal self-serving government. Richard Burton in his last role portrays an Ingsoc inner-party member, the inside man to John Hurt's "Winston Smith".

Both excel in their roles, they're believable, real, and in Burton's case truly terrifying. Suzanna Hamilton plays the part of Julia, Winston's lover and ultimately the tool of his demise. There are some specifically disturbing scenes in this portrayal, notably the torture of Winston Smith - if ever John Hurt deserved an Oscar, it should have been for 1984. The movie is one of those pictures that you just can't stop, but are unsure that you can bear to see what happens next. The performances were stunning, the production dark and consistent, the movie a dreadful vision of what could have been, and as every right we enjoy is eroded, could still be. 1984 still stands as important literature for the 21st century and this movie version stands as the definitive version, standing as both an education and a warning. And remember, if there is hope, it lies with the proles, the real people. Super Reviewer ½ In a totalitarian society that brands any dissent or emotional connection with another individual a "thought crime", a humble civil servant enters into a sexual relationship with a co-worker at the risk of cruel and unusual punishment.

George Orwell's novel is the grandaddy of all dystopian fiction and virtually every sci-fi ever made on the subject owes a debt to it. It features a regime that employs propaganda, fictional "enemies of the state" and constant war to keep its citizens subjugated and is a frightening examination of the logical conclusion to fascism. The film obviously employs imagery derived from both Nazi and Stalinist propaganda and creates a chillingly believable world where freewill is outlawed. John Hurt gives yet another acting master class as the rebel without a cause and the torture inflicted on him by a gently malevolent Richard Burton is truly horrifying. The biggest problem with the film for me is that in Winston's world there is no humour, no heroes and no hope. This is no doubt the point of the exercise but it hardly makes for a nice place to visit for 105 minutes. The unrelenting bleakness is wearying on the soul and I couldn't help thinking how both Brazil and V For Vendetta took the premise of the story here and injected either humour or inspiring rebellion to make a story which actually entertained rather than despaired.

As an intellectual exercise 1984 is an admirable film but as a piece of entertainment it's joyless and pretty much all talk. xGary Xx Super Reviewer George Orwell's book 1984 is one of the most important literary works ever written. This adaptation is a well crafted film that has glimmer of hope. In fact the film is shrouded in misery, and director Michael Radford conveys the look of Oceania perfectly. This is exactly how I pictured the world to look like. The performances are brilliant and Michael Radford's directing is excellent and he captures the tone and atmosphere of the book perfectly. This is a stunning film with a great performance by actor John Hurt in the lead role of Winston Smith. There are differences from the book of course, but to say that this film is absolute crap, I think it's unfair. The film is definitely worth watching if you're a fan of Orwell's classic work of the same name. The reason the film succeeds so well is that it gets the bleak atmosphere of helplessness perfectly right and also the cast are simply wonderful in their parts. As a Dystopian / totalitarian Sci Fi drama, 1984 definitely delivers something unique and thrilling.

This is a must for fans of the book, and is quite underrated in my opinion. I loved the book and I thoroughly enjoyed this film. Michael Radford definitely got George Orwell's vision of the ultimate totalitarian state perfectly nailed down. This film it leaves no place for hope, it's dark, melancholic atmosphere make it a film that you simply can't forget. A brilliant film with a great cast, 2984 is worth watching, just don't expect anything hopeful for the lead character here. John Hurt definitely is wonderful in the part, and his performance along with that of Richard Burton is the standouts of this film. 1984 captures the feel of the book perfectly, and it should appeal to Orwell fans. Alex roy Super Reviewer ½ There are just some stories that are better left on paper. For all my love of Orwell (and believe me it runs deep) there was something sordid about watching some of my most beloved and loathed characters play out on the screen, however well the actors delivered on their end of the bargain.

When it comes to something so utterly seperate from reality as 1984 is, I feel that it is better left in the minds of those who dare to imagine it rather than to have someone elses view imagined for you and played out on the screen. This will always be one of those "you need to read the book" kinda deals. Unknown Hobo

Question: Which film which stars John Hurt, Richard Burton (in his last film role) and Suzanna Hamilton is based on a book by George Orwell?
Answer: 1984