In the year 1984, rocket bombs and rats prey on the inhabitants of the crumbling metropolis of London. Far away on the Malabar Front, a seemingly interminable war rages against Eastasia. The Ministry of Truth broadcasts ceaselessly to the population via its inescapable network of telescreens. These devices, which pervade all aspects of peoples' lives, are also capable of monitoring their every word and action. They form part of an elaborate surveillance system used by the Ministry of Love, and its dreaded agents the Thought Police, to serve their singular goal: the elimination of 'thoughtcrime'. Winston Smith is a Party worker - part of the vast social caste known as the Outer Party, the rank and file of the sprawling apparatus of government. Winston works in the Records Department of the Ministry of Truth - the section charged with modifying historical news archives for consistency. When by chance Winston uncovers incontrovertible proof that the Party is lying, he embarks on a ...Written by
Richard Branson's Virgin Films, the production company bankrolling the movie, had wanted a commercially viable pop act to compose the music for the film to increase its market potential. Originally, they approached David Bowie, who had used Orwell's novel as inspiration for some songs on his 1974 album, "Diamond Dogs", but he demanded too much money for the job. They opted instead for Eurythmics, who had initially turned down the offer but later accepted. Michael Radford was unaware of this plan, and had already hired Dominic Muldowney to compose the entirety of the film's musical score. Virgin Films exercised their right of final cut, and replaced most of Muldowney's score with the Eurythmics score, for the film's theatrical release (some of Muldowney's score remained, particularly the state anthem, "Oceania, 'Tis for Thee"). Radford was displeased with this development, and retaliated by withdrawing the film for consideration for BAFTA award for Best Picture. When the film did win the Evening Standard award for Best Film of the Year, Radford used his acceptance speech at the nationally televised ceremony to denounce the Eurythmics involvement. The Eurythmics released a statement that they were unaware of the dispute, and would not have accepted the commission if they had known it was done against the director's consent. The Eurythmics soundtrack was released as the album "1984 (For the Love of Big Brother)" in 1984; the complete Muldowney score was finally released as a limited-edition CD "Nineteen Eighty-Four: The Music of Oceania" in 1999, to commemorate the film's fifteenth anniversary. All home video versions have used the theatrical Eurythmics score, except a 2003 DVD release that featured the Muldowney score; this version quickly went out of print. All releases of the film, with both versions of the score, have jointly credited Eurythmics and Muldowney in both the opening and closing credits. See more »
When the telescreen is broadcasting the news that Ogilvy has been awarded the order of Conspicuous Gallantry, the announcer says that Ogilvy has received the order for his actions against the forces of Eastasia. However, at that point of the movie Oceania is at war with Eurasia, not Eastasia. See more »
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?
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"This film was photographed in and around London during the period April-June 1984, the exact time and setting imagined by the author." See more »
Accurate and powerful rendering of a timely piece of work
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.
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