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Fahrenheit 451 (1966 film) Totally Explained
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Everything about Fahrenheit 451 1966 Film totally explainedFahrenheit 451 is a 1966 film of a dystopian future, based on the novel of the same name by Ray Bradbury.
According to Bradbury the novel isn't about speech, but is a story about how television destroys interest in reading literature. The central character, Guy Montag, is employed as a "fireman" (which, in this case, means " book burner"). 451 degrees Fahrenheit (about 233° C) is stated as " ?The temperature at which book-paper catches fire, and burns ...". It was directed by François Truffaut, his only English-language film.
The film starred Oskar Werner as Montag and Julie Christie who was nominated for a BAFTA Award for Best Actress in a Leading Role award for the dual roles of Linda (Mildred) Montag and Clarisse; having long red and short blonde hair respectively and being photographed through different coloured filters. Funding for the film became available when both Christie and Werner, both in popular films at the time, became interested in the project.
The movie differed somewhat from the novel.
- Clarisse survives throughout the film and accompanies Montag when he leaves the city.
- The role played by Faber is reduced significantly, appearing only briefly in one scene as an old man who is searched for books in a park as the cinematography surrounds him with black borders.
- The obsession with fast and often fatal driving that permeates the novel is nowhere in the film. Only three automobiles are seen in the film; a Jaguar S-Type, a Commer Imp van, and art director Syd Cain's red Excalibur roadster.
- Bradbury has said that Truffaut "captured the soul and essence of the book," although he disliked the double omission of Faber and the Mechanical Hound.
- Once Montag begins reading, the machines of his society (represented by the Mechanical Hound in the book) turn against him. In the film this is represented by his being unable to go up the fireman's pole and the door of his home no longer opening automatically.
- The nuclear war in the book is absent, though one of Linda's friends talks about her husband being called up by the military.
- The film adds a pursuit of Montag with James Bond type jet packs and an attack from a machine gun firing helicopter that's televised.
The film was Universal Pictures first European production that was followed by A Countess From Hong Kong.
Production
The film was shot at Pinewood Studios in England, with the monorail exterior scene taken at the French SAFEGE test track, in Châteneuf-sur-Loire near Orléans, France (since dismantled). The Alton housing estate in Roehampton, South London was also featured in the film.
Truffaut spoke virtually no English, but co-wrote the screenplay with Jean-Louis Ricard. Truffaut expressed disappointment with the often stilted and unnatural English-language dialogue. He was much happier with the version which was dubbed into French.
The production work was done in French.
To provide a taste of what life is like in a non-literate culture, the opening credits are spoken rather than being displayed in type.
The final scene of the Book People was filmed in a rare and unexpected snowstorm on the date of Julie Christie's birthday.
Tony Walton did costumes and production design whilst Syd Cain did art direction.
List of works and authors mentioned
Note: According to the book Bradbury: An Illustrated Life, neither Bradbury nor Truffaut chose the books that appear in the movie. The DVD commentary suggests that many or all of the books used came from Truffaut's personal library. One of the books, though barely visible, is Fahrenheit 451 itself.
Alice's Adventures in Wonderland and Through the Looking Glass by Lewis Carroll
Animal Farm by George Orwell
Arthur Schopenhauer
David Copperfield by Charles Dickens
Don Quixote by Miguel de Cervantes
Friedrich Nietzsche
Gulliver's Travels by Jonathan Swift
Jane Eyre by Charlotte Brontë
Leo Tolstoy
Lolita by Vladimir Nabokov
Madame Bovary by Gustave Flaubert
Mein Kampf by Adolf Hitler
Metaphysics by Aristotle
Moby-Dick by Herman Melville
Nadia
Othello by William Shakespeare
Pride and Prejudice by Jane Austen (volumes 1 and 2)
Republic by Plato
Robinson Crusoe by Daniel Defoe
The Adventures of Tom Sawyer by Mark Twain
The Brothers Karamazov by Fyodor Dostoyevsky
The Catcher in the Rye by J. D. Salinger
The Corsair by George Byron
The Good Life
The Martian Chronicles by Ray Bradbury
The Pickwick Papers by Charles Dickens
The Trial by Franz Kafka
Walt Whitman
William Faulkner
Wuthering Heights by Emily Brontë
Nineteen Eighty-Four by George Orwell
A History of Science & Technology
A Journal of the Plague Year by Daniel Defoe
A Year of Grace
Argos
Baby Doll
Cahiers du Cinéma
Christopher Landon
Confessions of an Irish Rebel by Brendan Behan
Death of a Dream
Death of a Ghost by Margaret Allingham
Death on Milestone Buttress by Glyn Carr
Decline and Fall by Evelyn Waugh
Las Deux Anglaises et le Continent by Henri-Pierre Roché
Dom Juan by Molière
Fathers and Sons by Ivan Turgenev
Gargantua and Pantagruel by François Rabelais
Gasparo Hauser (This is the book Montag takes in the film, as opposed to the Bible in the novel)
The Secrets of the Princess Cadignan by Honoré de Balzac (German, as Geheimnisse der Fürstin von Cadignan)
Gone with the Wind by Margaret Mitchell
Holy Deadlock by A. P. Herbert
The Hustler by Walter S. Tevis (a French version with the title In ze pocket is shown)
Inspector French and the Cheyne Mystery by Freeman Wills Crofts
Interglossa by Lancelot Hogben
Jazz
Jean Cocteau
Jeanne D'Arc by Joseph Delter
Journal of André Bulat
Journey into Space by Charles Chilton
Justine by Marquis de Sade
Le Avventure di Pinocchio by Carlo Collodi
Le Monde à Côté by Gyp
Les Nègres by Jean Genet
Lewis et Irène by Paul Morand
Look With Mother ABC Book
Marcel Proust
Marie Dubois by Jacques Audiberti
Memoirs of Saint Simon by Louis de Rouvroy
Metallurgy for Engineers
My Autobiography by Charles Chaplin
My Life and Loves by Frank Harris
My Life in Art by Constantin Stanislavski
Nest of Vipers by Tod Claymore
New Writing
Ninety Years Wiser
No Orchids for Miss Blandish by James Hadley Chase
Or Be the Deed
Our Nuclear Future
La Peau de Chagrin by Honoré de Balzac
Petrouchka by Igor Stravinsky
Plexus by Henry Miller
Raffles and Miss Blandish by George Orwell
Reappraisals of History
Rebus by Paul Gegauff
Roberte ce soir by Pierre Klossowski
Sanctuary
Sermons and Soda-Water by John O'Hara
She Might Have Been Queen by Geoffrey Bocca
Social Aspects of Disease by A. Leslie Banks
Spanish Crossword Puzzle Book
Swann's Way by Marcel Proust
Sweet Danger by Margaret Allingham
Tales of Mystery & Imagination by Edgar Allan Poe
The Bodley Head
The Castle on the Hill by Elizabeth Goudge
The Defeat of the Spanish Armada by Garrett Mattingly
The Ethics by Aristotle
The Evil of the Day by Thomas Sterling
The Ginger Man by J. P. Donleavy
The Good Soldier Schweik by Jaroslav Hašek
The Happy Prisoner by Monica Dickens
The History of Torture
The House of the Arrow by A. E. W. Mason
The Jason Murders by John Newton Chance
The Jewish Question by Jean-Paul Sartre
The Moon & Sixpence by W. Somerset Maugham
The Mystery of Jack the Ripper by Leonard Matters
The Owls' House by Crosbie Garstin
The Picture of Dorian Gray by Oscar Wilde
The Pilgrim's Progress by John Bunyan
The Prince by Niccolò Machiavelli
The Sittaford Mystery
The Thief's Journal by Jean Genet
The Voyage of the Dawn Treader by C.S. Lewis
"The Walrus and the Carpenter" by Lewis Carroll
The Weather by George Kimble & Raymond Bush
The White Friday Murders
The White Priory Murders
The World of Salvador Dali by Robert Descharnes
Their London Cousins by Lydia Miller Middleton
Vanity Fair by William Makepeace Thackeray
Waiting for Godot by Samuel Beckett
Weir of Hermiston by Robert Louis Stevenson
We're Still Using That Greasy MAD Stuff (a MAD Magazine compilation book of material from issues of the magazine)
Wreck of the Running Gate
Zazie dans le Métro by Raymond Queneau
Music
According to an introduction by Ray Bradbury to a CD of a rerecording of the film score by William Stromberg conducting the Moscow Symphony Orchestra Bradbury had suggested Bernard Herrmann to Truffaut. Bradbury had visited the set of Torn Curtain meeting both Alfred Hitchcock and Herrmann before Herrmann left the film. When Truffaut contacted Bradbury for a conference about his book, Bradbury recommended Herrmann as Bradbury knew Truffaut had written a detailed book about Hitchcock.
When Herrmann met Truffaut he asked him why he was chosen over "modern" composers such as the director's friends Pierre Boulez or Karlheinz Stockhausen. Truffaut replied that "They'll give me music of the twentieth century, but you'll give me music of the twenty first!"
Herrmann used a score of only string instruments, harp, xylophone, vibraphone, marimba, and glockenspiel. As with Torn Curtain, Herrmann refused the studio's request to do a title song.
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