Fahrenheit 451 (1966) [Collector's Edition]
DVD9 | VIDEO_TS | PAL 16:9 | Cover + DVD Scan | 01:47:50 | 7,46 Gb
Audio: English, Italian, Spanish - AC3 2.0 @ 192 Kbps (each) | Subs: English, Italian, Spanish
Genre: Sci-fi, Thriller, Drama
DVD9 | VIDEO_TS | PAL 16:9 | Cover + DVD Scan | 01:47:50 | 7,46 Gb
Audio: English, Italian, Spanish - AC3 2.0 @ 192 Kbps (each) | Subs: English, Italian, Spanish
Genre: Sci-fi, Thriller, Drama
Director: François Truffaut
Stars: Oskar Werner, Julie Christie, Cyril Cusack
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.
An underrated film, perhaps because it is less science fiction than a tale of 'once upon a time'. Where Ray Bradbury's novel posited a strange, terrifyingly mechanised society which has banned books in the interests of material well-being, Truffaut presents a cosy world not so very different from our own, with television a universal father-figure pouring out reassuring messages, and the only element of menace a fire-engine tearing down the road. A bright, gleaming childhood red, the engine is like a reminder of toyhood days; and as Werner's fireman hero goes about his task of destroying literature, his growing awareness of the almost human way in which books curl up and die in the flames gradually assumes the dimensions of a quest for a legendary lost treasure - movingly glimpsed as he slowly and painfully deciphers the title-page of David Copperfield. Here the rich, nostalgic pull of the past wins out over technocracy, and the film ends, as it began, with a scene lifted right out of time: a wonderful shot of the rebels - each dedicated to the preservation of a literary masterpiece by committing it to memory - wandering in contented, idyllic exile by the edge of a glitteringly icy lake.
Throughout much of his brilliant career, Francois Truffaut was criticized for not making explicitly political films. However, he did tackle political themes in two films: FAHRENHEIT 451, an indictment of totalitarianism and book-burning, and THE LAST METRO, which dealt with the German occupation of France. These films address the suppression of two media of deep personal significance for Truffaut–literature and the theater, respectively. The former is the most restrained and elegaic of science fiction films, full of poignant moments: a paean to the physical importance of books.
FAHRENHEIT 451 (the title refers to the temperature at which paper burns) is set sometime in the future and follows Montag (Oskar Werner), a devoted and obedient "fireman" who excels in ferreting out books in the most obscure hiding places. One day, after watching a woman sacrifice her life for her forbidden library, he decides to keep a volume for himself, curious to learn why these tomes are deemed so threatening. Soon he must choose between his life as a civil servant–in which he follows orders and lives with a listless, television-addicted wife, Linda (Julie Christie)–and his desire to live as a free thinking man in a free society, inspired by subversive schoolteacher Clarisse (Christie again).
Severely underrated and misunderstood by critics who wanted Truffaut to continue making films like his early French New Wave classics THE 400 BLOWS and JULES AND JIM, FAHRENHEIT 451 is a marvelously courageous personal statement that becomes more fascinating with time. This was Truffaut's first color film. The cool crisp cinematography is provided by future director Nicolas Roeg. The great Bernard Herrmann supplied the memorable score.
Truffaut's film and the novel from which it is adapted have both been misunderstood for too long. To start with, you have to understand that Bradbury's novels, plays, and story are almost always allegorical - so you have to look for meanings on more than one level. Truffaut's film of Fahrenheit 451 captures all of the allegorical levels of the novel. To explain: One of the many reasons human beings read and write books is because we have a deep need to know if our inner experiences are shared by others - this need can only be answered within the context of an intimate relationship, either with another human being or with a book, which allows us to reveal or to be revealed as we are.
The more the State controls the use of language, the more we are controlled. In Bradbury's novel the State effectively limits intimacy by forbidding books; and since the only reference to reality is dictated by the State, what can Montag or his wife know of love? How intimate can their relationship be? Fahrenheit 451 is a story about a man who has conformed completely to external reality; or has he? Can anyone really sell their soul to the State? Truffaut's film beautifully articulates the story, atmosphere, and themes of Bradbury's novel, as Montag unconsciously - as if sleepwalking - begins to stack the kindling, dry wood, and fuel of his dehumanized existence for the moment when his creative energy can no longer be contained and his life bursts into flames. Notice, also, how Bernard Herrman's score evokes these images of somnambulism, fire building, and spontaneous combustion.
The rest, of course, is a story of rebirth, of the phoenix rising from the ashes - the victory of creative passion over State control. To summarize, 451 synergizes the story of a man's mid-life crisis with the crisis of repression of human values represented by McCarthyism. Note well: you have to give yourself over to this film in order to really appreciate it - the film requires a meditative state of mind and empathic response. Montag finds that he can no longer simply function as a cog in a machine - he needs to be loved for himself. Clearly, the literal or analytically minded will not "get" this film; neither will the romantically inclined. It's a film about wholeness, about not allowing yourself to be fragmented, or having parts of yourself chopped off by external forces. You have to bring your total self to it.
It's a film about actually living through your worst life crisises, learning from them, and determining your own way of life, instead of doping and drugging yourself with memory killers devised by the State. In short, watch the film and form your own opinion - you dont need the concensus or false reassurance of a film critic or other idiot in order to live your own life.Customer Review, amazon.com
Special Features:
- Audio commentary with Julie Christie
- The Novel: A discussion with Ray Bradbury
- Making of Fahrenheit 451
- The music of Fahrenheit 451
- The Original Title Sequence
- Photo Poster Gallery
All Credits goes to Original uploader.
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