TV Cream

Films: N is for...

Nineteen Eighty-Four

Can we take this for granted, with your eyes over us? In this place, this wintry home, John Hurt knows there’s always someone in, while Suzanna ‘Brimstone and Treacle’ Hamilton faces the wall, turns her back against it all. They’ll pull the bricks down one by one, leave a big hole in the wall, just where Richard Burton is looking in. Scenes all filmed, though we’re not entirely sure why, on the exact days of the year they were meant to have taken place in Orwell’s book. Also with (dooo-dooo-do-do-do-do-dooo!) Gregor Fisher, (dooo-dooo-do-do-do-do-dooo!) David ‘Mr Bentley’ Cann and (dooo-dooo-do-do-do-do-dooo!) Roger ‘Trigger’ Lloyd-Pack. The comedy zeitgeist deems The Eurythmics infra dig once more, it seems, reminding us of director Michael Radford pulling a massive BAFTA hissy fit when Smiling Dickie Branson slotted their music into his sombre Orwellathon. Well, fair enough, Sexcrime *is* bloody terrible, but that sort of precious over-seriousness is exactly what made this film such a brittle, airless chunk of O-level textbook ho- hum in the first place. Happily, Radford seems to’ve lightened up since, rumoured as he is to be working with the Jim Henson Company. The Muppets’ Two Minutes Hate, anyone? (Stadler: “They say you should imagine a boot stamping on a human face forever!” Waldorf: “They’ve saved us the bother, the bear’s on next!”)

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