"Studio One" 1984 (TV Episode 1953) Poster

(TV Series)

(1953)

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6/10
A rather pedestrian version of a classic story
planktonrules18 October 2010
Warning: Spoilers
In the late 1940s and through the 1950s, television was producing a wonderful string of live plays that simply boggle the mind with their great quality. The actors, scripts and productions looked amazingly good considered how they rushed them into production and did all this with relatively tiny budgets. Fortunately, some of these early shows still exist and have been transferred to DVD. Now you may wonder how they have copies of live shows. This is because although they were presented live, because of time zone differences, the New York productions were also saved using the Kinescope process so they could be shown later that evening on the West Coast. Unfortunately, the Kinescopes are pretty ugly versions--and "1984" is even darker and uglier to the eye than usual for this process.

The teleplay stars Eddie Albert and Norma Crane as Winston Smith and his ill-fated love, Julia. Lorne Green (with noticeably less hair than in his "Ponderosa" days) plays the third lead. If you look very, very, very closely, you'll also notice Martin Landau as an extra--but look quickly, or else you'll miss him!

Unlike many who watch this episode of "Studio One", I have actually read George Orwell's "1984", so I can see where this live teleplay does well and where it does not in regard to the original material. Overall, the spirit of the story is still intact, though the story suffers on several levels. The most obvious one is time--cramming all this as well as commercials into one hour is just too rushed and the show looked it. Second, "1984" was a very sexual tale for the time--so much so that this needed to be mostly excised from the TV version--the censors never would have allowed it. Third, possibly due to the budget and logistics difficulties, the story is too minimalistic--not just the sets but the scenes that involved rats--which SHOULD have been vivid and terrifying but weren't. I also didn't like the song that kept playing for absolutely no reason during the play. What did this have to do with the plot?!?! Still, it is interesting and worth a look--particularly since other versions are either non-existent (I don't know what happened to the Edmund O'Brien movie, but I cannot locate a copy anywhere--and is probably #1 on my lost films list) or too stark and dreary (the version with Richard Burton is too depressing and dull--even for a story that is supposed to be depressing and dull).
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6/10
Overrated Orwell Tale Still Entertaining - 1984
arthur_tafero17 June 2021
I read this book in High School 20 years before 1984 and saw the Hollywood production with Edmund O'Brien 20 years before 1984 as well. I thought the book and the film to be heavy-handed and highly unlikely to occur. I also found both to be relentlessly depressing. The TV version on Studio One, which preceded the Hollywood version is in the same category, but is a bit better than the Hollywood version. This is due to the romantic chemistry between the leading lady and Eddie Albert, who, by the way, I felt was miscast. Despite the miscasting, the romance was highly believable. The Hollywood version's romance between O'Brien and his leading lady was nowhere nearly as passionate. The book itself was fairly devoid of romantic passion as well, so the screenwriters of the TV production at Studio one successfully spiced it up. Worth viewing.
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10/10
If we ever relax in our fight for freedom...
mark.waltz6 June 2020
Warning: Spoilers
Big brother, thought police, youth spies, anti-love league. All phrases coming out of George Orwell's story that reminds us that no matter where we turn, we are being watched. News broadcasts indicate that traders of Big Brother have been executed and before the Rope around their neck snapped, they declared loyalty to Big Brother. People walk around looking extremely weak or overly severe, only able to enjoy the necessities of life, and passion is not one of those necessities. This focuses on the tired, controlled Eddie Albert, whose job is to go back in time and destroy any records that could threaten big brother's power. Those who work directly for Big Brother (among them Lorne Greene) are manipulative, claiming the non-existence of something that is right in front of the viewer's face. When a face representing Big Brother does appear, his followers are obsessively extremist, and the visual become expressionalist similar to the films of the silent era.

This Studio One production of Orwell's novel is the first film version of it, and there have been several variations for both the small screen and the big screen. It certainly is disturbing in any element and the opening narration declares that this is a warning to continue the fight to maintain freedom, otherwise this will be the world we could end up living in. Albert back to the grave mistake of falling in love, being tempted by the beautiful Norma Crane, dress just part of big brothers are met, but having passions of her own that are definitely against that reich.

"War is peace. Freedom is slavery. Ignorance is strength", a sign promoting Big Brother's propaganda expresses. But where do people in love go to in order to express their desires? This indicates that while big brother may be watching everywhere, there are some places that he can't see, and that the black market and rebels are in existence, showing that there is always hope even in the worst time of dominance by an evil force. There apparently are also hidden places that big brother has not found to put in their spy equipment, and this is where the two lovers intend to tryst. Albert Brooks on with joy at items he has not seen in decades, swoons at the taste of chocolate and is at his happiest when he sees Crane in a lovely dress. The sudden presence of a rat sends Albert to distress. But the thought of Big Brother catching them has Albert in a panic, endless of course leads to tragic developments.

Strange surrealistic sets come here because adds to the eeriness of the story and the Revelation here that people are not always who they seem to be on the surface. The performances are superb, with the actors playing their part as if they had stayed in the most horrendous monster in their dreams and wake up to find it standing over them. This is TV at its most classic, and for audiences in 1954 to witness something so nightmarish on that little box in their living room have been considering the world around them. More than 65 years later, it still resonates and while at this writing, I've only seen one other version (the 1956 film), it's still become an emotional chore to begin to watch it. However, as with the later film, once I am settled into the story, I am hooked, if not depressed as a possibility of this ever really happening.
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5/10
Decent, short version of 1984. Excellent acting.
Bababooe25 September 2017
Warning: Spoilers
This week I have seen 4 versions of 1984. First the 1984 British film version with John Hurt. This was the weakest. Poor acting, except for Hurt toward the end, and Richard Burton who was completely underused. Without reading the book, confusion will follow. Second, I viewed the 1956 US film version with Edmond O'Brien. Much better acting and we had a fuller understanding of what the hell was going on. Much better music, cinematography, acting, and script. Third, I viewed the 1954 Peter Cushing, British live TV version. This is superior to the rest. What we have here is great acting, story, cinematography and music. The sets are not great, very minimum. However, everything else shines. I have not read the book in a long time. So, I cannot compare. But the story is clear. Also, worthy of mention in this version is Donald Pleasence. His acting, character and dialogue add immensely. André Morell is also great. Fourth I viewed the 1953, US TV version with Eddie Albert. This was much shorter than the rest and very minimalistic. However, it had some great acting. Norma Crane played the best Julia out of all the versions. Lorne Greene was good as O'Brien. And Eddie Albert did very well as Smith.

Rating for this one is a C, or 5 stars. Much better than the 1984 version. My favorite so far is the 1954 Peter Cushing.

I did not like any of the endings. But I guess that's how the book ends. I also felt there should have been a bit more info on other people who were dissatisfied with the society they were living in. I must read the book.
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9/10
Deviates corrected for their own good
Bernie444417 April 2021
Little known version with Eddy Albert as Winston Smith

In a society that has eliminated many imbalances, surplus goods, and even class struggle, there are bound to be deviates; Winston Smith is one of those. He starts, due to his inability to doublethink, with thoughtcrime. This is in a society that believes the thought is as real as the deed. Eventually, he graduates through a series of misdemeanors advancing to illicit sex and even plans to overthrow the very government that took him in as an orphan.

If he gets caught, he will be sent to the "Ministry of Love" where they have a record of 100% cures for this sort of insanity. They will even forgive his past indiscretions.

Westinghouse - Studio One in Hollywood (TV Series) Season 6 Episode 1
  • 1984 (1953)


The episode aired on 21 September 1953 Written for television by William Templeton Based on a novel by George Orwell

You may notice some of the names of the characters have been changed from the book and other movies.

Packed with well-known actors: Eddie Albert ... Winston Smith Lorne Greene ... Minister of Truth O'Brien Norma Crane ... Julia Noel Leslie ... Charrington Truman Smith ... Parsons Robert Culp ... Male Telescreen Voice (as Robert M. Culp) Midge Donaldson ... Female Telescreen Voice Victor Thorley ... Cassandra Peter Ostroff ... Syme (as Peter A. Ostroff) Janice Mars ... Singer Susan Hallaran ... Selina Fred J. Scollay ... Man in Cell (as Fred Scollay) Vincent Van Lynn ... Prison Officer (as Vincent Vanlynn) Don Hollenbeck ... Narrator Paul Branson ... Announcer (voice)

See Eddy Albert again in The Teahouse of the August Moon (1956)
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