Starring-Julie Christie, Cyril Cusack
Scott’s Review #728
Reviewed February 26, 2018
Based upon the famous and fantastic classic 1953 novel, Fahrenheit 451, by Ray Bradbury, the film adaptation is futuristic and dystopian in nature. Directed by French film-maker Francois Truffaut and starring the “it” girl of the late 1960’s, Julie Christie, the film succeeds as a cool, new wave, edgy, progressive hybrid. Various elements aid in making the film seem set in the future, all with hints of the great director, Alfred Hitchcock sprinkled in the mix. Certainly the novel is superior, but Fahrenheit 451 is a worthy watch if only for Christie alone.
Christie tackles a dual role, as both Clarisse, a young schoolteacher with progressive and forbidden views, and as Linda, the vastly different spoiled wife of central character, Guy Montag, played by German actor, Oskar Werner. The trio exist in a futuristic world where a totalitarian government has banned all literature deeming it bad for society. A force called Firemen, where Guy works, has the right to search anyone at any time and burn all books as needed. Clarisse and Guy begin to question the governments motivations as Guy stashes a copy of Charles Dickens’ David Copperfield, causing danger and peril for the pair.
What I think I like most about the film is the mysterious and foreboding concept, which is a downright scary notion. What if books were suddenly non-existent and forbidden? The film does, as the novel did, provide references to luscious and brilliant literary works of art, so much so that the viewer will undoubtedly feel how this reality would be a devastating one. As with similar titles such as “1984” and “Brave New World”, the futuristic world and the “big brother is watching” theme is a key to its success.
Director, Truffaut, an ardent fan of the master Hitchcock, seamlessly incorporates elements of suspense and key “Hitchcockian” moments, most specifically with the musical score. Truffaut used Bernard Hermann, the same composer that Hitchcock used in 1966’s Torn Curtain, but more importantly, the prevalence of strings is reminiscent of classics like Psycho and Vertigo. A fight scene behind frosted glass so that only shadows can be scene is a direct homage to Hitchcock’s famous style.
To go along with the Hitchcock comparisons, an interesting film anecdote is that legendary Hitchcock superstar, Tippi Hedren, was desired in the central dual role, but since at the time she and Hitchcock were embroiled in a feud, and she was under contract to him, he would allow none of it. The mind wanders with the possibilities this would have presented. But alas, Christie is no slouch as the female star of the film.
In fact major kudos are deserved by Christie as she plays both of her characters to the hilt and is one of the best aspects of the film. Anyone having read Bradbury’s novel will understand how the character of Clarisse is expanded in the film, and one wonders if this was decided in order to showcase more of Christie? Regardless, the characters of Clarisse/Linda are completely different from each other and the actress is superb. Unfortunately, this film is not front of the pack in Christie’s most remembered films.
My main detraction of Fahrenheit 451, the film, is only that, having recently read the novel, there is no comparison whatsoever, as the novel is far superior, however the film is very good and contains some wonderful visuals and imagery. So few times can a film usurp the beauties of the written word, and how ironic given the subject matter of the destruction of books.
Fahrenheit 451 is a stylistic, artistic film with a really cool vibe and featuring a tremendous performance from one of 1960’s biggest talents. The film initially received fair to middling reviews and is now largely forgotten, but is nice to take down from the dusty old shelves of the Hollywood obscure every now and then.