Guy Montag
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Fahrenheit four-five-one is the temperature at which book paper catches fire and starts to burn.
Book paper actually combusts at 450 degrees celsius, but Ray Bradbury (the author of the book this movie was based upon) thought fahrenheit sounded more powerful. Book paper catches fire at 842 degrees fahrenheit.
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Book paper actually combusts at 450 degrees celsius, but Ray Bradbury (the author of the book this movie was based upon) thought fahrenheit sounded more powerful. Book paper catches fire at 842 degrees fahrenheit.
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[
to Linda] You spend your whole life in front of that family wall. These books are my family. When did we first meet? And where?
Dialogue
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The Captain: What does Montag do with his day off duty?
Guy Montag: Not very much, sir. Mow the lawn.
The Captain: And what if the law forbids that?
Guy Montag: Just watch it grow, sir.
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Guy Montag: Hasn't this uncle of yours ever warned you never to speak to strangers?
Clarisse: No. He did say once if anyone asked how old I was to say I was 20 and light in the head. They always go together.
Guy Montag: Light in the head?
Clarisse: Mm-hmm. Loopy. Crazy. Anyway, you don't frighten me.
Montag: Why should I?
Clarisse: No reason really. The uniform, I suppose.
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Clarisse: Is it true that a long time ago, firemen used to put out fires and not burn books?
Guy Montag: Really, your uncle is right, you are light in the head. Put fires out? Who told you that?
Clarisse: Oh, I don't know. Someone. But is it true did it?
Montag: Oh, what a strange idea. Houses have always been fireproof.
Clarisse: Ours isn't
Guy Montag: Well, then, it should be condemned one of these days. It has to be destroyed, and you will have to move to a house that is fireproof.
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Linda Montag: Did you see that? Cousin Claudette's got a bouffant tonight.
Guy Montag: Who?
Linda Montag: Cousin Claudette.
Guy Montag: Who is Cousin Claudette?
Linda Montag: The cousin announcer, the one you don't like.
Guy Montag: I don't like any of them.
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Guy Montag: Well then it wasn't the analyst. It was the staff that wanted to get rid of you because you are different. Look at that fellow over there.
Clarisse: What's he doing?
Guy Montag: That's the information box. He can't make up his mind.
Clarisse: What's he want to find out?
Guy Montag: He doesn't want to find out anything. He knows someone who has books. So he got hold of the person's picture and number, and is going to drop it into that box.
Clarisse: But he's an informer!
Guy Montag: No, he's an informant. Look at him. Like someone circling around a woman.
Clarisse: He's putting something in his mouth.
Guy Montag: It's a stimulant to work up his nerve.
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Clarisse: Why?
Guy Montag: What?
Clarisse: How did it come about? What made it begin? What made you want to do – How could someone like you be doing this kind of work? I know everyone says that, but you! You're not like them. When I say something to you, you look at me. Why did you choose this job? For you it doesn't seem to make any sense.
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Guy Montag: Do you remember what you asked me the other day? If I ever read the books I burn? Remember?
Clarisse: Uh-huh.
Guy Montag: Last night I read one.
About Fahrenheit 451 (film)
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A woman who bravely reads books is more likely to be socially constructive than one who is hung on TV. And the contrast arranged by Mr. Truffaut—a homely bookworm versus a beauteous TV fan—is a suitable one for illustrating the austerity of dedication to books.But it makes for pretty dreary entertainment when you have to sit there and watch a frozen-faced Mr. Werner piously turn away from a long-haired, voluptuous Julie Christie and go marching off down the railway tracks in quest of the bleak, bobbed-haired Miss Christie who has gone to the land where the book-people are.
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Francois Truffaut’s Fahrenheit 451 (Universal) isn’t a very good movie but the idea—which is rather dumb but in a way brilliant—has an almost irresistible appeal: people want to see it and then want to talk about how it should have been worked out. Fahrenheit 451 is more interesting in the talking-over afterward than in the seeing.
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The movie is so listless we have what we should never have in a gimmicky thriller: time to notice inconsistencies. People know how to read; why are they taught? Why are the book people hiding libraries in town instead of smuggling them to the woods? (Do they have a secret lending library?) Why are we shown the hero revealing his guilt to his co-workers (in scenes like his inability to go up the fire-pole) if it doesn’t lead to any consequences? Why are we shown an antagonism between Werner and another fireman (Anton Diffring) which never develops into anything functional in the structure? Why is it so easy to escape to the woods? Couldn’t Truffaut or anyone think up a better contrivance to bring the book girl back than the need to retrieve an incriminating list of names (of people who memorize books!)? The actions in this movie don’t flow from the theme; O.K. we can accept that if, at least, they’re ingenious. But they’re not. Still, all the holes in the plot would just make it seem lacy and airy if the movie had rhythm, if it moved purposefully, if the moods surprised us or intrigued us. Why doesn’t it?
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