I was forced to read plenty of tedious books in middle school, but I distinctly remember being excited to read Ray Bradbury's Fahrenheit 451 in 7th grade. We rarely got the chance to read something as interesting as a sci-fi novel, and Bradbury's classic has a hell of a hook. In a nightmarish future where happiness is valued above all, firemen burn books instead of putting them out. All is well until one fireman, Guy Montag, begins to question his beliefs and the orders of hardline Captain Beatty. This is such a clever concept, one that is terrifying, satirical, and a little too prescient. Even if the story itself is fairly boring from time to time, the genius of Fahrenheit's central idea has seeped into the collective consciousness. In the Trump age, Bradbury's alternative facts-based dystopia is certainly more relevant than ever, even if it often feels like a comparison point for people desperate to sound smart.
Iconic French director Francois Truffaut took a stab at making a film adaptation of Bradbury's book in the 1960s, but his cinematic take never quite gained the esteemed status of the source material. Decades later, 99 Homes director Ramin Bahrani is putting his own spin on the story, updating the cautionary tale for our contentious modern era. With rising star Michael B. Jordan and Oscar nominee Michael Shannon leading the cast as Montag and Beatty, respectively, things were looking up for this new edition of the story, which is available to watch now on HBO (it premiered May 19). It's a shame that Bahrani's Fahrenheit 451 just feels so flavorless, devoid of irony or tangible cinematic energy. The grim seriousness with which Bahrani and co-screenwriter Amir Naderi handle the material is forgivable to a certain extent, as many probably believe that a Bradbury-esque dystopia isn't far off at this juncture. But the film's dull Blade Runner-inspired visuals and pseudo-philosophical dialogue contribute to a feeling of lifelessness that permeates the entire project, a feeling that no amount of cinematic gloss or explosive power can shake.
The fault doesn't entirely lie with the cast. Michael B. Jordan is a strong actor, but he's quickly being typecast in a strangely specific role. Think about Jordan's characters in Black Panther and Creed for a second. While there are few surface-level between Killmonger and Adonis, they're both young men seeking to understand the loss of their father and they both use macho posturing to mask a broken emotional core. Jordan's rendition of Guy Montag is basically the exact same thing. In the early goings of the film, Jordan does lots of shouting, punching, and singing, embracing the ostentatious spirit of these post-apocalyptic firemen. As Montag's character arc progresses, he begins to reclaim his memory and gets in touch with his true self, resulting in a more understated, somber performance. Again, Jordan isn't necessarily bad in the role, but this is familiar territory for him, territory that I don't think he needs to explore much further. He's working in the same zone in every movie, but unlike his last two collaborations with Coogler, Bahrani doesn't afford him much room to give Montag a personality.
Michael Shannon is playing Michael Shannon, and while his presence is normally a perfectly fine asset for a movie to have, Fahrenheit doesn't seem to know what to do with him. There are sparks of that traditional Shannon blend of deadpan brilliance and quiet menace, with the best example being a tense climatic moment between Montag and Beatty. But for the most part, it's impossible to get a read on Shannon's version of Beatty. He plays the captain like a father figure/mentor, but it's never exactly clear where he stands on anything. In a better movie, that sense of ambiguity would be genuinely interesting. Here, it's just immensely frustrating. The third member of Fahrenheit's main trio, Sofia Boutella's Clarisse McClellan, isn't much better, a one-note orphan who introduces Montag to the resistance. Boutella has appeared in a number of roles since her breakout performance in Kingsman: The Secret Service, but her chemistry with Jordan is virtually non-existent. Clarisse is never given a narrative of her own, which means Boutella has little to work with.
Bahrani is a compelling visual stylist, and he puts shots together in an unusual, often memorable way. One of Bahrani's trademark shots in Fahrenheit takes the perspective of Yuxie, the film's omnipresent, HAL 9000-esque security robot, displaying the world from its creepy vantage point. It's unfortunate that the shot is repeated seemingly a dozen times, to the point that it loses any of its effectiveness. The visual palette falls into the same trap- it's initially engaging, but eventually just ugly. Cinematographer Kramer Morganthau (frequent collaborator of Thor: The Dark World's Alan Taylor) clearly enjoys mixing the red lights and purple hues, but the overwhelming darkness of the film eventually becomes oppressive. It's clear that Bahrani and his team were trying to emulate Blade Runner, but there's something about this aesthetic that feels so clunky and unappealing.
There's something about this version of Fahrenheit 451 that strikes me as particularly peculiar. There are so many solid individual dimensions here, and the film is certainly polished, sometimes even entertaining. It's a very thoughtful meditation on the power of media in modern society, and it has no qualms with being a scathing indictment of neo-fascism. So why does it all feel so hollow and tiresome? Once the rush of the initial action scenes settles, much of Bahrani's film just runs through the motions. Its political ambitions are mostly successful, but it lacks a real understanding of its characters and their journeys. There's no pathos here, not even a modicum of humor. It's a lot of straight-faced misery and not much else.
Maybe Fahrenheit 451 deserves to be categorized as one of those unadaptable literary classics. If a cinema icon and a modern indie master have both tried and failed, I certainly think that's worth noting. The influence of this book's core idea cannot be overstated, but maybe we have to accept that these characters and this story just aren't particularly interesting. Fahrenheit 451 has plenty of terrific pieces in place, from Bahrani's knack for composition to a trio of talented leads. The simple truth of the matter is that this modern update just never feels alive.
THE FINAL GRADE: C (5.4/10)
Images: HBO Films
Iconic French director Francois Truffaut took a stab at making a film adaptation of Bradbury's book in the 1960s, but his cinematic take never quite gained the esteemed status of the source material. Decades later, 99 Homes director Ramin Bahrani is putting his own spin on the story, updating the cautionary tale for our contentious modern era. With rising star Michael B. Jordan and Oscar nominee Michael Shannon leading the cast as Montag and Beatty, respectively, things were looking up for this new edition of the story, which is available to watch now on HBO (it premiered May 19). It's a shame that Bahrani's Fahrenheit 451 just feels so flavorless, devoid of irony or tangible cinematic energy. The grim seriousness with which Bahrani and co-screenwriter Amir Naderi handle the material is forgivable to a certain extent, as many probably believe that a Bradbury-esque dystopia isn't far off at this juncture. But the film's dull Blade Runner-inspired visuals and pseudo-philosophical dialogue contribute to a feeling of lifelessness that permeates the entire project, a feeling that no amount of cinematic gloss or explosive power can shake.
The fault doesn't entirely lie with the cast. Michael B. Jordan is a strong actor, but he's quickly being typecast in a strangely specific role. Think about Jordan's characters in Black Panther and Creed for a second. While there are few surface-level between Killmonger and Adonis, they're both young men seeking to understand the loss of their father and they both use macho posturing to mask a broken emotional core. Jordan's rendition of Guy Montag is basically the exact same thing. In the early goings of the film, Jordan does lots of shouting, punching, and singing, embracing the ostentatious spirit of these post-apocalyptic firemen. As Montag's character arc progresses, he begins to reclaim his memory and gets in touch with his true self, resulting in a more understated, somber performance. Again, Jordan isn't necessarily bad in the role, but this is familiar territory for him, territory that I don't think he needs to explore much further. He's working in the same zone in every movie, but unlike his last two collaborations with Coogler, Bahrani doesn't afford him much room to give Montag a personality.
Michael Shannon is playing Michael Shannon, and while his presence is normally a perfectly fine asset for a movie to have, Fahrenheit doesn't seem to know what to do with him. There are sparks of that traditional Shannon blend of deadpan brilliance and quiet menace, with the best example being a tense climatic moment between Montag and Beatty. But for the most part, it's impossible to get a read on Shannon's version of Beatty. He plays the captain like a father figure/mentor, but it's never exactly clear where he stands on anything. In a better movie, that sense of ambiguity would be genuinely interesting. Here, it's just immensely frustrating. The third member of Fahrenheit's main trio, Sofia Boutella's Clarisse McClellan, isn't much better, a one-note orphan who introduces Montag to the resistance. Boutella has appeared in a number of roles since her breakout performance in Kingsman: The Secret Service, but her chemistry with Jordan is virtually non-existent. Clarisse is never given a narrative of her own, which means Boutella has little to work with.
Bahrani is a compelling visual stylist, and he puts shots together in an unusual, often memorable way. One of Bahrani's trademark shots in Fahrenheit takes the perspective of Yuxie, the film's omnipresent, HAL 9000-esque security robot, displaying the world from its creepy vantage point. It's unfortunate that the shot is repeated seemingly a dozen times, to the point that it loses any of its effectiveness. The visual palette falls into the same trap- it's initially engaging, but eventually just ugly. Cinematographer Kramer Morganthau (frequent collaborator of Thor: The Dark World's Alan Taylor) clearly enjoys mixing the red lights and purple hues, but the overwhelming darkness of the film eventually becomes oppressive. It's clear that Bahrani and his team were trying to emulate Blade Runner, but there's something about this aesthetic that feels so clunky and unappealing.
There's something about this version of Fahrenheit 451 that strikes me as particularly peculiar. There are so many solid individual dimensions here, and the film is certainly polished, sometimes even entertaining. It's a very thoughtful meditation on the power of media in modern society, and it has no qualms with being a scathing indictment of neo-fascism. So why does it all feel so hollow and tiresome? Once the rush of the initial action scenes settles, much of Bahrani's film just runs through the motions. Its political ambitions are mostly successful, but it lacks a real understanding of its characters and their journeys. There's no pathos here, not even a modicum of humor. It's a lot of straight-faced misery and not much else.
Maybe Fahrenheit 451 deserves to be categorized as one of those unadaptable literary classics. If a cinema icon and a modern indie master have both tried and failed, I certainly think that's worth noting. The influence of this book's core idea cannot be overstated, but maybe we have to accept that these characters and this story just aren't particularly interesting. Fahrenheit 451 has plenty of terrific pieces in place, from Bahrani's knack for composition to a trio of talented leads. The simple truth of the matter is that this modern update just never feels alive.
THE FINAL GRADE: C (5.4/10)
Images: HBO Films
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