Pierre Lachenay is a well-known publisher and lecturer, married with Franca and father of Sabine, around 10. He meets an air hostess, Nicole. They start a love affair, which Pierre is hiding, but he cannot stand staying away from her.
Based on the 1951 Ray Bradbury novel of the same name. Guy Montag is a firefighter who lives in a lonely, isolated society where books have been outlawed by a government fearing an independent-thinking public. It is the duty of firefighters to burn any books on sight or said collections that have been reported by informants. People in this society including Montag's wife are drugged into compliancy and get their information from wall-length television screens. After Montag falls in love with book-hoarding Clarisse, he begins to read confiscated books. It is through this relationship that he begins to question the government's motives behind book-burning. Montag is soon found out, and he must decide whether to return to his job or run away knowing full well the consequences that he could face if captured. Written by
Brian Rathjen <email@example.com>
In the scene where the middle aged woman is burned alive, one of the last images we see from the books that are burning is what looks like Joan of Arc, who also burned alive for her convictions. See more »
Montag's hair in the final scene is different than it is in the rest of the film. This is because Oskar Werner, to show his dislike of director François Truffaut, purposely did this to create a continuity error. See more »
An Enterprise Vineyard Production. Oskar Werner, Julie Christie... in Fahrenheit four-five-one.
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The beginning credits are spoken instead of written on the screen. See more »
My first viewing of "Fahrenheit 451" since its initial relase ca. 1966 was last night, via DVD. I highly recommend this DVD version--it includes excellent bonus material, including a moving account of composer Bernard Herrman's role in making the film.
I rated the film a "9" despite not being a big Truffaut fan; there's something about the "feel" of his movies that makes me fidgety and leaves me dissatisfied. But that same feel seems just right in this atypical piece of his--he felt he had failed to make the movie right, and he had difficulties with it that are explained in the bonus material. I think what resulted was an unsuspected and unintended success, instead.
Now more than ever in recent history, we face problems with individual liberties that are uncannily reflected in this film. Watch it as a cautionary tale, as a visually stunning experience, and as an example of some of the best film music ever composed: but watch it. I think you'll be glad you did.
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