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Attention: For those who did not read George Orwell’s classic dystopian modern “1984″ in high school, college, or through personal initiative, please select the time to do so before diving into the soul shattering experience of the film version of this book, aptly titled “1984.” I imagine that many viewers could experience lapses of vulgar boredom if they do not have a sufficient conception of newspeak, thoughtcrime, and the political dynamics of Oceania/Eastasia/Eurasia before experiencing this soul shattering film. You might even want to read a few items about communism and fascism before watching the movie. In any event, the book and film are chilling in their presentation of a world in the grip of pure totalitarianism.

Originally released in 1984, “1984″ tells the epic of Winston Smith. Smith lives and works in what mature to be the city of London, before an atomic war swept away the world as we know it and ushered in the dismal gloom of Enormous Brother. Smith spends his days working away in a booth at the Ministry of Information, constantly updating and rewriting the party organs in order to form history fit with expose realities. In the course of a day’s work, Winston routinely changes rationing promises, removes people labeled as “non-persons” from articles, and burns records. During his off hours, he sits in his ratty apartment under the constant surveillance of the set, which keeps an leer on him through a giant monitor in his living room and with hovering helicopters outside his window. Occasionally, Winston gets to support giant party rallies where he and other members of INGSOC recognize televised propaganda tapes about the endless war with Eastasia (or is it Eurasia? ) . Each day is bleak, filled with consumer shortages, the endless nattering of propaganda in the background (”War is Peace, Ignorance is Strength, Freedom is Slavery”), and dreams about his life as a child or a site in the countryside.

Unfortunately for Winston, he fair cannot perform himself accumulate the prevailing conception, namely that one need only give oneself up to the party and never demand anything INGSOC pronounces as truth. His job reconstructing history makes him acutely aware that the party lies incessantly, and in Winston’s world losing faith in the party means losing one’s life after visiting Room 101 in the Ministry of Admire. To do matters worse, Winston catches the recognize of the beautiful Julia and snappy becomes embroiled in seditious activities that Titanic Brother more than frowns upon. After Winston falls in with a high party official named O’Brien, the downward spiral begins in earnest, leading to an interrogation that is definitely an upsetting viewing experience.

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This film is by necessity an intensely character driven vehicle. Thankfully, director Michael Radford obtained the services of John Wound and Richard Burton to play Winston and O’Brien. Wound shines as the tortured Winston, looking as though he’s on death’s door while he trudges through another bland day in Oceania. Burton is properly menacing as the enigmatic O’Brien, playing his role of party thug with equal parts compassion (oddly enough) and threat. I know less about Suzanna Hamilton, the actress who plays Julia, although she does an admirable job working between two mountainous film stars. Incidentally, this was Burton’s last film role.

I loved the atmosphere of this film. Radford creates a dank, dingy London I wouldn’t even deem about strolling through without a tubby body protection suit. The ubiquitous audio and visual propaganda is a nice touch as well, creating a sense of total immersion in Winston’s world. As Winston slogs through the bombed out backdrop of London on his design to work, the viewer becomes aware of the party’s total grip on the people through the canard of total war. The omnipresent image of Spacious Brother should certainly bring a smirk to anyone familiar with Russian history, since the guy looks a lot like Lenin.

I noticed that the Eurythmics soundtrack, while advertised on the case and in the credits, is missing from the film. This did not bother me grand since I first saw the film years ago and do not remember great about the soundtrack other than the pleasurable fetch by Dominic Muldowney… I feel sorry for those who looked forward to having that fragment of the soundtrack included in their occupy. Despite this omission, the film is very considerable worth the money.

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Great imagery, big acting, and a tremendous message about the evils of 20th century fascism and communism develop “1984″ a must have for any film lover. I’ll leer John Wound in nearly anything, but he really turns in a grand performance here. Catch up this movie and inspect for the warning signs!

“Nineteen Eighty-Four” (the loyal on-screen title) is a rare example of a film adaptation of a book that faithfully transfers the visions and theme of the book’s author, honest down to even filming on the dates that the author specified (April-June 1984) . George Orwell’s homely, hellish current of a future where freedom has vanished, even from the minds of human beings, has been turned into an equally evil film version. Its yarn of a government that seeks to utterly crush the human spirit through propaganda, language, and anxiety, turning human beings into programmed machines, has never been more unpleasant than today. It is a book and movie for all times, as long as governments lie, tyrannies exist, and people surrender their freedoms in the name of fears, both precise and imagined.

The casting couldn’t be more perfect. John Harm, looking passe and stretched past his years, is the ideal actor to play “diminutive rebel” Winston Smith, who dares to mediate against the mysterious Expansive Brother and to descend in admire. In his last film role, Richard Burton is like a glaring Greek Statue, stern and unflappable and scary. It’s an unnerving and gargantuan performance. As for Suzanna Hamilton, Winston’s care for Julia, I was petrified when I first saw the movie: she matched exactly the image of Julia I had in my head when I read the book.

Director Michael Radford (who also directed “Il Postino”) imagines the world of George Orwell exactly as the author would have if he had directed the film: as a wrecked vision of late-40s Britain if it had lost World War II. The state accomplish is aesthetic, combing some high technology (video screens and computers) with rusty mid-forties technology (pneumatic tubes, rotary phones) . Everywhere is decay and deprivation. Nothing really works, everything is bland and hideous in that poor, gray-stone block style that dominated Soviet and Chinese government architecture of the 1940s and 1950s. No doubt about it, the director understood where Orwell was coming from, and the models he was using.

Just like the book, “Nineteen Eighty-Four” is a film that will utterly devastate you, come by under your skin, and change the contrivance you discover at the world. It is a masterpiece.

(A label on the disc: Although they receive credit, the music by the Eurythmics has been completely removed, as per the wishes of the director. Since this is a no-frills DVD without distinguished in the contrivance of extras, there is no alternate music track to let people hear the recent theatrical soundtrack. However, the film is remarkable powerful better without the Eurythmics; they don’t fit the style and feel of the film or the astonishing novel music. Also, the washed-out photographic style of the fresh released has been changed to a more natural look; but this has been legal of every version since the theatrical release. None of this should prevent you from getting possess of this astounding movie.)
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