Nineteen Eighty-Four (1984)
Directed by Michael Radford
Winston Smith is a government employee whose job involves the rewriting of history in a manner that casts his fictional country's leaders in a charitable light. His trysts with Julia provide his only measure of enjoyment, but lawmakers frown on the relationship -- and in this closely monitored society, there is no escape from Big Brother.
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What critics compared Nineteen Eighty-Four to
In this case, young Edward (Gordon-Levitt replicating the real Snowden’s affectless, robotic voice), distinguishes himself as the star pupil of Corbin O’Brian (Rhys Ifans, shadowy and sinister), a composite CIA figure who shares a similar surname with O’Brien, the Thought Policeman of George Orwell’s “1984.”
And thanks to cinematographer Anthony Dod Mantle who gives the proceedings a competent, but overtly obvious visual nod to 1984.
And a great, if slightly over-the-top scene in which - in a direct nod to "1984" - an interrogating O'Brien appears on a huge video screen.
Snowden is an immediate success at his work, receiving encouragement from both company man O’Brian (whose surname recalls the sinister “O’Brien” in George Orwell’s 1984) and the eccentric Hank Forrester (played hammily by Nicholas Cage; the character may be based on William Binney), who has a thing for old code machines and apparently no duties other than dusting them.
That name is probably a wink in the direction of Orwell's 1984, where the main antagonist was O'Brien.
Já mais tarde, quando Snowden conversa com seu mentor, que questiona suas atitudes, Stone retrata o superior (Ifans) como uma presença gigantesca em uma tela que domina a sala, evocando a imagem icônica do Big Brother de 1984 (e tampouco é coincidência que este personagem – fictício – se chame O’Brien, completando a referência ao remeter ao agente da Polícia do Pensamento do livro de Orwell).
With its echoes of "1984" and "Fahrenheit 451," the screenplay by Pat Rushin, a writer and English professor at the University of Central Florida, hits many of the same dystopian notes as Gilliam's "Brazil."
Screenwriter Richard Pushin was reportedly inspired by the book of Ecclesiastes, but the plot seems equally influenced by "Waiting for Godot," "1984" and the collected works of Franz Kafka (the latter two sources shaped Gilliam's " Brazil " as well).
There are satirical digs at consumption and globalisation, but the aesthetic is techno-whirligig junk shop – indoors and outdoors – with a touch of 1984 and a hint of funfair.
Escrito pelo estreante Pat Rushin, o roteiro se passa num futuro não especificado que, embora tomado por cores intensas e personagens que exibem vitalidade, não é muito diferente das distopias vistas em Os 12 Macacos, THX 1138 e 1984 .
In a none-too-subtle shoutout to “1984,” signs warn that Management is watching everywhere, incarnated in the figure of a character actually called Management (Matt Damon, sporting, like everyone else in the movie, a ridiculous hairpiece).
The offices for Mancom Corp. resemble a gaudy, smaller, steampunk version of the bureaucratic maze that Gilliam created for “Brazil,” via Michael Radford’s film version of “1984.”
What with all the ludicrous maxims (“Breath is a just a clock ticking”), “Justice League” infrastructure names (sense offenders are taken to the Hall of Justice before being burned in the Hall of Destruction) and buzz terms (“processing” and “execution”) Wimmer freely throws around, Equlibrium could pass for a 13-year-old’s book report on the totalitarian themes of 1984 and Farenheit 451.
For starters, the film retreads similar, over-reactionary themes found in other sci-fi works such as "1984" and "Fahrenheit 451."
Borrowing enough from the dystopian science-fiction visions of "1984," "Brave New World" and "Fahrenheit 451" to remind us how thought-provoking the genre can be in the hands of the masters, writer-director Kurt Wimmer's painfully unoriginal "Equilibrium" isn't likely to have the Big Brothers of the world shaking in their boots.
Havenâ??t these guys read Animal Farm, 1984 and Fahrenheit 451, and isnâ??t the point that the powers that be in Libria have rejected their ideas and now set out to crush them?
A student so inclined could have a fine, obsessive time linking images and action sequences to all the influences (including ''1984,'' ''Fahrenheit 451,'' and ''Brave New World'') that have been scooped up wholesale by writer-director Kurt Wimmer, stirred in an often violent frenzy, and microwaved for serving.
Writer/director Kurt Wimmer’s “Equilibrium” is a b-movie update of “Fahrenheit 451” and “1984,” with a hint of “The Matrix” thrown in for good measure.
"The Lobster" is reminiscent of other dystopian novels and films such as "1984" and "A Clockwork Orange."
It’s all too droll and tinged with loveless sadism to go down easily, a “1984” for a loveless, disconnected but Facebook “connected” age.It hurts.
Recommended If You Like: 1984, Eternal Sunshine of the Spotless Mind, and Under the Skin.
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The theme of the individual versus the collective was ably explored in films like Invasion of the Body Snatchers and The Matrix , rather brilliantly explored in last year's The World's End , and rather bluntly laid out in things like 1984, Elysium , Upside Down , and The Hunger Games .
For instance, the conversation about futuristic dystopias and/or social upheaval no longer includes 1984 , Brave New World , or Fahrenheit 451 .
If I mention the fingerprints of George Orwell’s 1984 this review may explode.
Director Gary Ross does a tight job of establishing the future-meets-1984 vibe in Panem: the slog of daily life, the hopelessness that dulls the citizens, the fear that returns each year at the Hunger Games lottery known as the Reaping.
It’s kind of a light, pre-teen version of “The Running Man” mixed with elements of “1984.”
“Truman Show’’ and “Wizard of Oz’’ are joined by “Logan’s Run,’’ “The Running Man,’’ “The Most Dangerous Game,’’ “The 10th Victim,’’ “1984,’’ “Big Brother,’’ “Red Dawn,’’ and countless other influences, and there’s an angry online contingent of “Battle Royale’’ fans that want their 2000 drive-in Japanese classic left in peace.
Numerous references to other films litter the second half of the movie, especially The Stepford Wives, 1984 and even Suspiria and Thelma And Louise, but with its 1950s paranoia, it’s most reminiscent of The Invasion Of The Body Snatchers.
A phantasmagoria with shades of Anthony Burgess’ Clockwork Orange and George Orwell’s 1984 thrown in for good measure.
In other words, it’s a satire like that combines the contradictions of communism in “Animal Farm” with a caustic look at a modern “1984.”
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They move ahead purposefully while he wanders -- physically through desolate back streets that recall Orwell's bleak "1984" and mentally through a labyrinth of unsettling, half-digested memories.
This first feature written and directed by Gary Ross (who co-wrote "Big") starts out as a satirical fantasy about a teenage brother and sister (Tobey Maguire and Reese Witherspoon) projected into a black-and-white '50s sitcom and winds up as a somewhat heavy-handed parable of totalitarianism and racial discrimination, with deliberate echoes of "1984," "Fahrenheit 451" and Shirley Jackson's "The Lottery."