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Truffaut’s film and the new from which it is adapted have both been misunderstood for too long. To begin with, you have to understand that Bradbury’s novels, plays, and myth are almost always allegorical - so you have to recognize for meanings on more than one level. Truffaut’s film of Fahrenheit 451 captures all of the allegorical levels of the current. 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 enlighten or to be revealed as we are. The more the Plot controls the consume of language, the more we are controlled. In Bradbury’s recent the Site effectively limits intimacy by forbidding books; and since the only reference to reality is dictated by the Position, what can Montag or his wife know of adore? How intimate can their relationship be? Fahrenheit 451 is a myth about a man who has conformed completely to external reality; or has he? Can anyone really sell their soul to the Dwelling? Truffaut’s film beautifully articulates the legend, atmosphere, and themes of Bradbury’s unique, 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. Gawk, also, how Bernard Herrman’s catch evokes these images of somnambulism, fire building, and spontaneous combustion. The rest, of course, is a fable of rebirth, of the phoenix rising from the ashes - the victory of creative passion over Spot control. To summarize, 451 synergizes the record of a man’s mid-life crisis with the crisis of repression of human values represented by McCarthyism. Mark well: you have to give yourself over to this film in order to really be pleased it - the film requires a meditative situation 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 “come by” 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 maintain draw of life, instead of doping and drugging yourself with memory killers devised by the Position. In short, glance the film and beget your acquire conception - you dont need the concensus or fake reassurance of a film critic or other idiot in order to live your absorb life.

Fahrenheit 451 is the temperature at which book paper will burn. It is the basis for the premise of this film, which is based upon the Ray Bradbury’s classic sci-fi fresh of the same name. The film takes the viewer to a stark future in which firemen commence fires rather than do them out. Their main mission appears to be to root out books, wherever they may be found, and burn them. Those who harbor books in their home are breaking the law and are subject to arrest by the spot. The written word is simply forbidden.

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Oskar Werner plays the role of Guy Montag, a fireman who is married to a pretty air-head named Linda, who spends her days popping pills, while glued to a wall camouflage TV. Played with appropriate bubble-brained inertia by the talented Julie Christie, this is objective one of the dual roles she plays in this film. The other role is that of Clarisse, a would be school teacher and seeming misfit in that society, as she actually likes to talk about ideas, the very reason that books are forbidden. It seems that books are looked upon as giving people ideas, which is viewed by the residence as a mechanism for making people melancholy with their lot.

When Clarisse singles out Montag for conversation, he is intrigued by the fact that she is apt of independent opinion. It is not long before he, too, like those whose books he has burned, is also, to his wife’s alarm, hoarding books. She feels that Montag is simply sucking the fun out of her life. Clarisse and Montag develop an alliance of sorts, as his world comes tumbling down. Betrayed by his conformist wife Linda, Montag joins the ranks of fugitive book lovers, hunted by the very firemen with whom he served. These fugitives are not known by their names, but rather, by the title of the book to which they have committed to memory, in hopes that one day the world will once again be ready to accumulate that which they have committed to memory.

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The film has a stark, futuristic quality about it. Symbolism is rampant throughout the film. The homes of those who hoard books are often homes that are cozy and reminiscent of homes of our book loving society today, while those of people who are with the program are stark and frigid. The all shaded uniforms extinct by the firemen are reminiscent of those ancient by the storm troopers of Nazi Germany. The actions of the firemen, as they search for those who would hoard books, as well as the search for the books themselves, are also reminiscent of the search by the Nazis for those who would harbor those who were deemed undesirable under the Nazi regime, as well as the search for undesirables themselves. Oskar Werner’s German accents underscores this imagery.

This is Francois Truffaut’s first and only foray into the direction of an English language film. He himself was co-writer of the screenplay, which is perhaps why the imagery seems to supercedes the dialogue. There are many stylistic flourishes throughout the film. Ray Bradbury’s, “The Martian Chronicles”, is one of the books seen to be burning. It is also one of the books that a fugitive has committed to memory. Newspapers in the film consist of pictures only. Even the opening credits of the film are in keeping with the premise of the film that the written word is forbidden. As such, the opening credits are spoken. Moreover, Bernard Herrmann’s edgy acquire certainly adds to the bleak, futuristic feel of the film. This is a film that those who enjoyed the new upon which the film is based should perceive.

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