Fahrenheit 451

Fahrenheit 451
by François Truffaut, Laurent Bouzereau

Fahrenheit 451
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Actor: Anton Diffring, Cyril Cusack, Jeremy Spenser, Julie Christie, Oskar Werner
Director: François Truffaut, Laurent Bouzereau
Brand: Universal Studios
Writer: François Truffaut
Writer: Laurent Bouzereau
Writer: David Rudkin
Writer: Helen Scott
Writer: Jean-Louis Richard
Writer: Ray Bradbury
DVD: Region Code 1
Audio: English (Unknown), Dolby Digital 2.0 Mono; Spanish (Subtitled); French (Subtitled); English (Original Language), Dolby Digital 2.0 Mono
Format: Anamorphic, Closed-captioned, Color, Dolby, DVD, NTSC, Subtitled, Widescreen
Picture Format: 1.85:1
Running Time: 113 minutes
DVD Release Date: 2003-04-01
Audience Rating: Unrated
Studio: Universal Studios

DVD Reviews of Fahrenheit 451

DVD Review: Fahrenheit 451; or, How Roeg saved Truffaut.
Summary: 2 Stars

Before any discussion of this film, there must be a line drawn between the politics of the film versus the way this film was created. Being a Truffaut fan, I didn't want to miss his idiosyncrasies within a scene merely because the politics of book burning were overwhelming. Yes, one understands that this is a film adaptation of "Fahrenheit 451", a beloved classic that gives booksellers inspiration every time it is read, but also this is a Truffaut film. Several reviews state that Truffaut did an excellent job with the direction, and then spend four paragraphs discussing our society and its apathetic ways toward literature. In this discussion of this film, there will be a solid line between Truffaut's direction and Bradbury's themes. Was one stronger than the other? Did Truffaut's adaptation muddy Bradbury's final thoughts? While you may agree or disagree with my discoveries, one needs to realize that this was a film watched, not a book read. Did Truffaut satisfy the main discourses of film enjoyment? Was it entertaining? Did it spark debate? Did it decorate strong characters? For this reviewer, Truffaut's "Fahrenheit 451" was a mixed bag of cinematic delight. The characters, albeit well fit within the realm of Bradbury, just felt mediocre. Their direction seemed wooden, while the camera focus seemed misplaced for a majority of the film. Again, like most Truffaut, it was colorful, but he just didn't seem himself until the final act - where Bradbury's ideas and Truffaut's direction finally congealed together. "Fahrenheit 451" was an adaption, but not one that stands among the infamous.

Our troubles begin in this film with our lead, Guy Montag (played by "Jules and Jim" lead, Oskar Werner), who obviously hated working for Truffaut and this project. Despite the rumor that the two clashed at every opportunity, Werner gave one of the worst performances seen for a long time. When Truffaut couldn't get Terrance Stamp for his first choice, the lackluster Werner stepped in, and the downfall of this film began. Werner gave nothing for audiences to attach themselves to. There was no emotion, no big moment of empathy, no excitement. Werner went from one scene to the next, allowing his sleepy eyes to provide us with just enough to cope with the hour and a half running time. He was horrible as a "Fireman", and even less convincing as a man with a sudden passion for the written word. There were moments when laughter was more suitable than viable emotion. This is supposed to be a tense film, a confusing film, a film where the emotion surrounding books becomes a greater asset than the material objects that Montag possessed. Alas, this wasn't the case. With the supposed anger surrounding our lead and director, only the lessons of Styrofoam and cardboard were used. Thankfully, there was Julie Christie mixed within the story to heighten the side bits. Feeling a bit Brunel-ian, Christie was used as two characters in this film, providing an opportunity for Truffaut to demonstrate a particular emotion with books and without them. While Christie wasn't Oscar-worthy, she did allow for an appealing appetizer to the dismal main course (Werner). She and Cyril Cusack (The Captain), anointed with the task of keeping the film together, managed to save this film from utter disappointment to sheer mediocrity.

What makes "Fahrenheit 451" an interesting film to self-explode, is not only the odd direction by Truffaut, but the powerful camera work by one Nicolas Roeg (the man who later gave us "The Man Who Fell To Earth"). All of the colors, the shots as they were filmed, and the choices of camera placement were, possibly, the second only greatest moment of this film. I credit Roeg for giving us the unsettling feel of this film. The contrast from the bold colors of red in the community with the bland colors of inside Montag's home (and elsewhere) forced the setting upon us in a good way. As Truffaut and Werner were arguing with each other, Roeg was creating a film - and it is obvious as the visuals of this film looked creative, but everything else came nowhere close.

Finally, without giving away the ending, one has to admit that the ending to this film was Truffaut finally finding his way again. Suddenly, when Montag found his real "home", it became obvious that Truffaut found his comfort zone. He understood this film, and the ending wrapped up brilliantly. The direction, the voice, the visuals - they all seemed to come together in a way that shocked even myself. If only the rest of the film had been this way ... what a surprising film this would have been.

VIDEO: Watched this film via streaming, and it was beautiful in colors and sets. The remaining part of the film, especially the acting, allowed this film to bob between mediocrity and horrid.

VISUALS: Again, Roeg is credited for allowing this film to remain what it is today. It is due to his visuals that I was able to watch this film in its entirety. Without Roeg, who knows what would have happened.

SOUND: Decent. The roar of fire was load. The crackle of books was present. The sound of the siren was intense. The little points were good - don't remember any music that stood out to engulf the theme of the film, but perhaps it was merely Montag's horrid acting that kept it at bay.

EXTRAS: As I streamed it, alas, nothing to report.

Overall, I believe this film, if done correctly, could be the first science fiction film ever to win an Oscar for best film. The themes are universal and the looming future is closer than we think. Yet, Truffaut could not handle this. He and Werner's arguing created a difficult mess of mixed emotions and sub-par casting. Roeg's scenes were brilliant, but couldn't save this sinking ship. "Fahrenheit 451" had potential, but failed on nearly every level. If you choose to view this film, check out the final scene in which Truffaut finally understands Bradbury's work. Why did it take so long to discover the true meaning of the written page? Urg.

Grade: ** out of ***** (two stars for Roeg and Christie ONLY)
More Fahrenheit 451 reviews:
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Description of Fahrenheit 451

FAHRENHEIT 451 - DVD Movie
The classic science fiction novel by Ray Bradbury was a curious choice for one of the leading directors of the French New Wave, François Truffaut. But from the opening credits onward (spoken, not written on screen), Truffaut takes Bradbury's fascinating premise and makes it his own. The futuristic society depicted in Fahrenheit 451 is a culture without books. Firemen still race around in red trucks and wear helmets, but their job is to start fires: they ferret out forbidden stashes of books, douse them with gasoline, and make public bonfires. Oskar Werner, the star of Truffaut's Jules and Jim, plays a fireman named Montag, whose exposure to David Copperfield wakens an instinct toward reading and individual thought. (That's why books are banned--they give people too many ideas.) In an intriguing casting flourish, Julie Christie plays two roles: Montag's bored, drugged-up wife and the woman who helps kindle the spark of rebellion. The great Bernard Herrmann wrote the hard-driving music; Nicolas Roeg provided the cinematography. Fahrenheit 451 received a cool critical reception and has never quite been accepted by Truffaut fans or sci-fi buffs. Its deliberately listless manner has always been a problem, although that is part of its point; the lack of reading has made people dry and empty. If the movie is a bit stiff (Truffaut did not speak English well and never tried another project in English), it nevertheless is full of intriguing touches, and the ending is lyrical and haunting. --Robert Horton
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