"There must be something in the books, something we cannot imagine, to make a woman stay in a burning house; there must be something there. You are not left for anything."

These words from the fiery, prophetic, prophetic "Fahrenheit 451" of Ray Bradbury emphasize our innate connection with literature and how instinctively it is to want to protect such artistic legacy. In this 1953 book, Bradbury America is a dystopian, where all books are banned and burned by firefighters who exist to eradicate all ideas that are considered to be dangerous from an authoritarian state. One such firefighter, Guy Montag, gradually realizes that the burning of the book cannot exist in a vacuum - it is an act that actively conducts censorship and disrupts individual and collective freedom. The burning and disappointed contribution to such spiritual practice, Guy leaves his job and decided to do everything in his power to preserve the books and precious literary worlds they contain. But the road to him is dangerous and unpredictable, because the people around him look satisfied with the state of the world and are gladly satisfied with what they do.

Fahrenheit 451 also attracts a link between increased contempt for books and shorter attention, where authoritarian states use Mass control technology and public opinion shaping. Bradbury's book also provides technological gadgets that are common today (everything, from massive TVs with flat panels to wireless headphones), although they are framed as distractions created to discourage the masses from engaging in critical thought. Given how happy some parts of the world are, especially when it comes to fiction (an example is The constant, arbitrary ban on Steven King's books in school libraries), "Fahrenheit 451" feels more like a prophetic warning than speculative fiction. It expects our obsession with our screens and social bent towards everything that requires the shortest attention range.

When Ramin Babra (who used the underestimated drama in 2013, "At all costs") He decided to adapt to "Fahrenheit 451" for HBO, he knew that retelling such a powerful story would prove to be tricky. Babra said we are already living in the world that Bradbury warns us against, where virtual realities (including social media) often have the advantage of lonely searches like reading books. However, book reading is also commodized at the same time, as it is redefined as a status symbol or marker of uncontrolled consumerism at certain angles on the Internet. In a column for Theujork TimesBabra wrote that "book ownership is becoming an act of rebellion" because it is impossible not to get involved with digital media that wants to use critical thinking (because we are digitally overrated at all times).

Unfortunately, this tinted perspective is not transmitted to HBO adaptation, such as Bahrani "Fahrenheit 451". Although there is one bright spot: Michael B. Jordandan, who starred with Michael Shannon.

In the adaptation of Babra, Guy (Michael B. Jordandan) is more awkward and glossy than his literary counterpart. For beginners, his work as a firefighter is more celebrated than he would think, and these state book burners are praised as heroes, their faces plastered on massive billboards. Most of these firefighters have never seen a book, so they handle and sniff these seemingly outdated cultural artifacts with a sense of caution and fear. Wrong this iOsubocity deeply within, they tighten their teeth and set the books.

But Babra does not take place on these subtle moments-Instead of it, it encourages Jordandan's tendency to shine in heavy sequences and turns the piece of the story into kinetic moments of bite. This inevitably delays the transformation to open the eye of Guy, as it is difficult to separate from state propaganda. However, the meeting with Claris (Sofia Butella) speeds up this to some extent, as it is suddenly a privately of the hidden world of forbidden knowledge and art wonders.

The primary question with this version of the story is that it has been told many times, often in infinitely better ways. The adaptation of François Truffau's book since 1966 has been sharp, witty and masterfully made and maybe one of the best interpretations of Bradbury's novel. Even the films that are indirectly influenced by Fahrenheit 451 have embraced a special identity that lacks the Babrani version. An example that comes to mind is "Balance", in which Christian Bale's Preston undergoes disorienting transformation Just like Guy, while dedicating himself to the art, beauty and rooting of a totalitarian regime. With so many stories that they are already separating Bradbury's ethos with stunning complexity, HBO's "Fahrenheit 451" feels almost a minor, as its central ideas are more inclined than they initially look.

Jordandan injects the film with refreshing dynamics even when the script descends, as his character's machining is authentic even though Bradbury's boyfriend has never accepted such an external assertive identity. There is also a pedantic underestimation of events, fortunately dispersed by Michaelon Beatty of Michael Shannon, who is pleasantly intense and theater in the story that begins to take place quickly. However, Fahrenheit 451 relies a little too much on fatty visual, preoccupied with looking cool and sounds deep (without showing it). If nothing else, this HBO adaptation imposes every aspect that makes Bradbury's book so timeless.