George Orwell, author of “1984,” portrays a dystopian nation concentrated on despair to warn his readers of Communist governments. Michael Radford, director and screen writer, film adaptation of the fiction story successfully captures the cinematography Orwell portrayed to the reader throughout the three sections of his novel. The industry influence commercialized minuscule topics like sexual affairs to increase the number of viewers and lessens the true horrors illustrated by Orwell.
Many Hollywood adaptations of novels focus on commercializing topics like sex to get viewers (Seger 4). When it comes to the topic of cinematography in “1984,” most of us will readily agree that the director Michael Radford perfectly captured the dystopian nation Oceania described by Orwell. Where this agreement usually ends, however, is on the question of commercialism incorporated to increase ticket sales. Whereas some are convinced, the restriction of personal and sexual relationships engages and captures the viewer’s perception of the dangers of a totalitarian government. On the other hand, other scholars contend that the constant concentration of sexual affairs in the movies takes away from the content Orwell was more concerned with.
Movie scholar and critic, Paul Attanasio contends, the “atmosphere is so unfailingly oppressive that the characters’ resistant…the scenes have the same dour, washed-out quality of the scenes that came before. Even if no one, realistically, can transcend totalitarianism, people think they can” (Attanasio). He is implying that Radford captured the true essence of the dystopian city, Oceania.
One implication of Radford’s treatment of Winston and Julia is that he wanted them to get caught. During the film, Winston and Julia do not participate in engaging conversations about the party. The screenwriter decides not to develop Julia as a character in the film. She is a static character who does not grow, has a lack thereof her own opinions surrounding Big Brother. Her integral part in the film is to serve as a mirror character to Winston and she is the individual with whom she enters a sexual relationship.
Critic Attanasio suggests that Winston and Julia’s relationship in the film appears to be static and forced. He says, “Winston and Julia make love with the same grim resolve…When they are finally discovered, it’s almost a relief” (Attanasio). The critic reminds us that Julia and Winston had no aspirations to get caught in the novel, but knew that it was going to happen; it was only a matter of time. In the novel, when both of the characters are caught by the Thought Police, they are absolutely horrified. Orwell describes the protagonist’s reaction to the arrest as shock:
“It was starting, it was starting at last! They could noting except stand gazing into one another’s eyes. To run for life, to get out of the house before it was too late – no such thought occurred to them…They were not toughing, but it seemed to [Winston] that...