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Greetings, and welcome to VIEWING THE CLASSICS. Here you'll find capsule reviews of vintage movies from the early days of cinema through the 1970s, with a special emphasis on sci-fi, horror, and mystery movies. Be sure to check out the Pages links, where you can find a Film Index of all my reviews, links to the reviews organized by cast members, directors, and other contributors, and links to my reviews of the films of talented young director Joshua Kennedy.

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Monday, November 5, 2018

Nineteen Eighty-Four (1954)

Starring Peter Cushing, Andre Morell, Yvonne Mitchell, Donald Pleasence, Arnold Diamond
Directed by Rudolph Cartier
(actor & director credits courtesy IMDB.com)

In a rebuilt society after an atomic war, a government worker risks his future by embarking on a forbidden affair with a lovely associate and seeking to join a rebellion against their leaders.

A powerful adaptation of George Orwell's landmark novel, this telefilm boasts a faithful script from writer Nigel Kneale, and excellent performances from all of its cast, including a showcased role for Peter Cushing that likely started him down a path to stardom.  Orwell's source material remains timely to this day, and despite the limitations of adapting it in the 1950s, the production still has the power to impress and horrify.  As Winston Smith, Orwell's beleaguered hero, who despises the controlling government of "The Party," and its ever present figurehead, "Big Brother," Cushing has our sympathy right from the start as a quiet unassuming type hungry for companionship.  When he attains that with Mitchell, who is also very good in projecting a wonderful vivaciousness, we feel his joy as we would ourselves.  When walls begin to close in around him, and Morell takes center stage in another compelling performance, the degradation Smith goes through and Cushing's reactions to it are quite literally heartbreaking.  With many long speeches, the film does drag a bit, and I couldn't help wishing that there were more of a score, rather than just snippets of music from John Hotchkiss as transitions between scenes.  Regardless, the picture is a masterwork in my opinion, and worthy of preserving for future generations.

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