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A Clockwork Orange
Crime, Drama, Thriller, Sci-Fi
IMDB rating:
Stanley Kubrick
Patrick Magee as Mr Alexander
Michael Bates as Chief Guard
John Clive as Stage Actor
Adrienne Corri as Mrs. Alexander
Carl Duering as Dr. Brodsky
Paul Farrell as Tramp
Clive Francis as Lodger
Michael Gover as Prison Governor
Miriam Karlin as Catlady
James Marcus as Georgie
Aubrey Morris as Deltoid
Godfrey Quigley as Prison Chaplain
Storyline: Protagonist Alex DeLarge is an "ultraviolent" youth in futuristic Britain. As with all luck, his eventually runs out and he's arrested and convicted of murder and rape. While in prison, Alex learns of an experimental program in which convicts are programed to detest violence. If he goes through the program, his sentence will be reduced and he will be back on the streets sooner than expected. But Alex's ordeals are far from over once he hits the mean streets of Britain that he had a hand in creating.
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Kubrick lays down the morality trap !!!
'A Clockwork Orange' is violent, it's brutal, but what it's not is a film that glorifies its violence as many critics and audiences believe it does. Every scene of violence, however ugly it may be, serves a purpose thematically. The violence is often accompanied by playful classical/modern music. I think the music and playful tone of the scenes directly express the allure that violence holds in the minds of youngsters like Alex. An important aspect to be noted in the violent scenes is the lack of blood or the lack of shots showing the after-effects of violence. It's just unreasonable violence. But the lack of logic behind the committing of these violent acts and the playful tone of the scenes will make the viewer question why violence is so alluring to Alex and his 'droogs'. Why does he get stimulated by the prospect of harming others? Is Alex a bad seed, is he naturally 'evil'? Now although this question is not directly answered, there are hints and imagery littered throughout the film that suggest otherwise. In the movie, Kubrick depicts a society around Alex that cannot completely wash its hands off the crimes of Alex and claim absolution from the guilt of giving rise to boys like him. Kubrick implicitly hints towards the existence of elements like parental neglect and abuse, the insidious hypocrisy of authority figures like Mr.Deltoid, governmental impotence in dealing with and thereby curbing vandalism and criminal activity, systemic fascism and an overall societal apathy leading to perennial decadence. These elements underline the notion that Alex in spite of his demonic actions and tendencies might not be naturally evil and he might not be the sole person to blame. Alex is a product of the society that he lives in and of course a product of the government that 'protects' him.

On one hand, Kubrick opens up the discussion in the social context, but at the same time, he manages to convincingly condense the discussion to a personal level too. This is because the questions of morality that this film asks will be viewed and remarked upon differently by every viewer based on their own sensibilities. After Alex undergoes the Ludovico Technique and gets completely stripped of his right to choose, everything that comes up in the film subsequently involves Kubrick making the audience ask themselves the tough central question: Should I feel sorry for Alex? This is the sequence where the extensively wild nature of Alex's 'ultra- violence' in the first half of the film achieves further relevance and purpose. Had Kubrick not had the proverbial 'balls' to show Alex at his worst in his violent days in the most visceral manner possible, the viewer's dilemma while seeing Alex suffer after undergoing the experiment, would've somewhat lost its potency. It is interesting to note that there is a reference made in the film about the distinctions between the Old Testament and the New Testament of the Bible. I think this is pertinent, because anyone who sides with the Old Testament's 'eye for an eye' attitude towards wrong-doers will retain their contempt towards Alex even during his moments of extreme suffering and will not sympathise with him. They will support the experiment due to the result offered by it which is the eradication of the criminal instinct, even if it means making Alex undergo inhuman treatment. But anyone who sides with the New Testament's far more liberal attitude towards wrong-doers, will sympathise with Alex and protest against the government's totalitarian decision to strip him of his humanity instead of giving him the time to redeem himself on his own. Opting in favour of the experiment means the dehumanisation of criminals who after all are still human beings. While being patient and allowing the criminal in prison to correct himself from within and then allowing him to go out into the world again, involves risking the prospect of releasing potential ticking bombs into the world who can easily revert back to their darker selves. Kubrick severely tests each and every viewer's dedication and conviction to their beliefs, no matter which side of the divide the viewer falls on with regards to the questions of morality. I appreciate the fact that unlike the original novel, Kubrick leaves the question answered without allowing Alex any sort of redemption in the end and thereby not allowing the viewer any reprieve either. He presents the problem, but doesn't present a solution to the problem because a universal, all encompassing solution to such a complex issue might not be so easily available in the first place. The relevance of the issue of capital punishment in our current times proves how even today, these issues remain unresolved. The more overarching social problems explored in the film are easier to locate and take care of, compared to the central issue of morality and the inherent subjectivity involved.

'A Clockwork Orange' has the distinctive Kubrickian austerity to it. The camera placements, the intricate detailing of the sets to juxtapose futuristic advancements with dystopian decadence, the symmetrical visual compositions, the extensive use of wide angle lens, the extreme idiosyncrasies of the characters, the darkly comic tone,etc. everything screams out the name Kubrick. Now, let's talk about Malcolm McDowell. This is one of the most uninhibited portrayals of a despicable character in film history. He prances around like a peacock owning every minute. There is an intensity to him that complements Kubrick's style perfectly. McDowell's version of the 'Kubrick stare' which the film starts off with might be my favourite and the most iconic of them all. Wendy Carlos' score for the film is dark, hypnotic and again works brilliantly with Kubrick's visual style. Kubrick himself was a master when it comes to using music to underline mood and tone. Just like 2001, he makes optimum use of classical music and the music is in itself a character in the film.

This is one of the easiest recommendations that I can ever make.
A sick, twisted masterpiece
A Clockwork Orange is my favourite film of all time, and deservedly so; I've watched it 10 times, and it never fails to disappoint. Whether you love it or you hate it, you will never forget it. It's a disturbing and dark film, but if you can stomach it, you'll almost certainly like it.

The film is an adaption of the novel of the same name. The story follows Alex Delarge, a young boy who participates in the old "ultraviolence" with his "droogies" (or, in other words, he beats up, steals from and rapes people with his friends). The "ultraviolence" is, indeed, ultra violent; the "Singin' In The Rain" scene is sickening, taking a sweet song that we all know and love and changing the way we think about it forever.

Georgie, one of his fellow droogies, talks about the "Cat Lady", an old woman who runs an health farm off in the countryside. On the weekends, she's all by herself; the perfect target for some ultraviolence, Georgie says! So the next day, they decide to head off to the house. Alex attempts to make his way into the house using the phrase he has always used: "Excuse me, can you please help? There's been a terrible accident!" Alex asks if he can use the Cat Lady's phone to contact the emergency services, but The Cat Lady refuses.

And we soon learn why, as she realises the words the "young man" said at the door were awfully similar to the ones quoted in the newspapers about an incident with an author (which also involved Alex) and so she phones the police who agree to come down to her house (although she doesn't think it necessary). Alex, however, has managed to make his way into her house and, after some talking, fights her and murders her. Alex, for once shocked with what he's done, runs outside to his droogies. But they haven't forgotten Alex beating them up earlier in an attempt to show who's leader, and smash a milk bottle over his head and quickly flee, leaving him to the hands of the police who soon arrive. Alex is arrested and taken to prison.

I won't go any further into the plot, as the plot really starts from there. But I will say this again; the film is very dark and sick. There are some scenes which, even on my 10th viewing, still shock me. It is frightening at times and does not ever hold back. But if you are still willing to see it, then you will love it. Each and every scene in this film is vivid and memorable. The only thing which turned me off initially was the language this film uses. The original book used a unique language called "Nadsat" and it still uses it for this film. First time around, watch the film with subtitles on (unless you've already read the book) or you will not understand it. Read up on the language, there are many sites with a Nadsat dictionary. Other than that, this is a masterpiece with not a single flaw. Some would dispute that fact, calling it over-the-top violence, but for everyone else, it's a timeless classic.
The art of violence.
"A Clockwork Orange" is a one of a kind masterpiece. It's odd, intelligent, funny and sickening. Kubrick at his best!

The opening sequence in the milk bar might very well be the best and most well known opening in cinema history. The movie manages to stay strong throughout the whole movie after the opening and only gets better and never weakens for a bit. Every minute is a pleasure to watch because the movie never gets predictable in anyway and the oddness level of the movie makes it so that it will be always a surprise what will happen next and how it will happen.

Every scene is pure cinema brilliance. The cinematography, sets, costumes and music all contribute to this, they make the movie a true piece of art. But the true artist is Stanley Kubrick who deserves the most credit. There are countless memorable moments, in other words, watching this movie is an experience that you'll not easily forget.

The violent sequences are sickening, twisted, odd but also funny at the same time. The way they are filmed are unique and very artistic. It's violence in its purest form, it's violence at its best. It gives us a view in the the extreme violent twisted mind of the main character and how he struggles against society and how society struggles against him. The story sounds more complicated then it truly is. The movie itself is easy to follow but it are the layers and deeper meanings that makes this movie not easy if not impossible to explain.

In my experience it is always very hard to comment on a Kubrick movie mainly because his movies always have so many layers and deeper meanings than a single few hundred words comment can describe. It is best to just watch this movie and experience the brilliance of it that is not easy to describe or explain.

In my opinion the best movie ever made.


A huge letdown
This movie was recommended to me and I had high expectations... especially since it was directed by Stanley Kubrick. However, after ten minutes of the movie I couldn't stand watching it anymore. I'm sorry but guys walking around with jumpsuits and underwear on just isn't my cup of tea. It was a good story line but it just lacked everything that would keep me awake during a film and I honestly don't understand why people think this movie is so great. "OH MAN, HE KILLED HER WITH A GIANT PENIS!!!" I'm sorry but giant penises and elderly women don't make a great movie. Maybe it's just that British humor, where they get chased by cops or prostitutes in fast motion with weird elevator music playing in the background. I guess I just don't understand the greatness behind it.
Indelibly Remarkable even till this date.
From the first frame till the last one, 'A Clockwork Orange' is intriguing, thought-provoking, meticulous and brilliant, like most other Kubrick films. The screenplay, cinematography (colourful & exquisitely photographed), set-design (very modern for its time), acting, background score - every aspect is almost flawless.

The story is a dark satire on a futuristic world, where they try to eradicate violence by conditioning criminals to abhor violence and sex by watching gory movies. Their (criminals') morals remain the same, but they just can't indulge in violence anymore; they become defenseless. The movie gives rise to so many topics of discussion, and you can debate all day long on the different themes it explores. Ultimately, the primary theme - if a human is stripped of his own choice of good and evil, he simply becomes mechanical, like 'clockwork'.

Alex DeLarge, the "humble narrator", the anti- hero, is one of the most important and fascinating characters in English Cinema.

The story, and its adaptation, is much ahead of its time. The liberties Kubrick takes in the field of violence and sex (in 1971) are quite commendable. No wonder it caused such a stir during the time of its release. Even after so many years, the movie can be enjoyed completely - it speaks so much about violence, youth agitation, gangs, criminal reforms, politics, etc., which are relevant even today.

Final Word - 'A Clockwork Orange' remains indelibly remarkable even till this date.
One of the most beautiful films I've seen...
It's funny, after you watch a film many times you begin to fall in love with it. This is true with a lot of films but for Clockwork Orange, I only had to watch it 2 subsequent times to fall in love with it. There are so many elements of this film that bring it together and make you totally enjoy the story. The music in the film is one such example, at times it's beautiful and at times dark and disturbing, setting the right tone for the scene. Technically this is a sci-fi film because it does take place in the future and there is the plot which involves brainwashing. When many people think of Stanley Kubrick, they think of 2001 and this film. It's because this film stands out as possibly the scariest image of the near future
Satire As Subtle As A Flying Mallet
This is a great example of how time can create a mass consensus.We don't watch films like The Godfather,Citizen Kane,or Schindlers List and decide for ourselves what we think of them.Its just predetermined that these films are classics and above the normal critical process.

A Clockwork Orange is the case in front of us here.First there is the bravura technical skill of the film.Lets talk about it.Kubrick is in complete command here.Every extended tracking shot,every perfectly composed frame,every close up,every piece of music in a scene is exactly as the director intended it to be.Few filmmakers ever could create as singular a vision as Stanley Kubrick does in almost every film he made.

The problem here is the unwillingness of Kubrick to allow the audience to think for itself or come to a conclusion about anything in the film without shouting it from the rooftop,and shoving our face in it,again,and again and again.Yes,the film is brutal satire.We aren't meant to sympathize with Alex.We aren't meant to sympathize with anyone in the film.And this is hammered home to us continually,with extreme closeups of bulging eyes and faces shaking as if from palsy.We cant let the audience figure out for themselves what the tone and point of view of a scene is.We must let them know beyond the shadow of a doubt.A perfect example of this is when Alex is carried into the house of the man he had brutalized years before,whose wife he had raped while singing "Singing In The Rain".The man doesn't make the connection about who he is,until Alex is taking a bath,and starts singing the song again.Five seconds of this,and a quick reaction shot of the victim would have told you all you needed to know.But no,the song goes on for at least two minutes,and the man starts getting the bulging eyes and uncontrollable shaking.This whole thing extends to the next scene where the man is watching Alex eat.And it goes on forever,with no new information being given to us.

As I stated at the beginning,this film is the recipient of reflexive acknowledged classic status.I think that if we look at this film with objective eyes almost 40 years later,we see a film of great technical skill,with major narrative flaws.Kubrick showed us in film after film how misanthropic he was.This movie is the perfect example of this.
Something's probably bugged you about "A Clockwork Orange" and other films like it. You're not quite sure what it is, but it makes you mad. That's because you are witness to one of the greatest conspiracies of moviedom. Critics say Clockwork Orange is good. Film professors teach that Clockwork Orange is a masterpiece. Contentious artsy-fartsy students can't shut their silver spoon mouths about the brilliance that lies within Clockwork Orange. They do this about many, many horrid films, and we take it meekly, assuming that other people know something we don't.

That's a lie, 'cause I know it all. And A Clockwork Orange reeks. It's a lot like Impressionistic art: labeled as classy and innovative, yet it really makes no sense to anyone.

I tells it like it is. Here you have a film that has a really antagonistic subject Alex (Malcom McDowell) who revels in sex, violence, and talking in some sort of weird language that's most likely based on sounds emanating from 5-month-old tots. After some shocking, shocking acts of violence and rape (and CHECK OUT that phallic imagery, our film professors chime), the law catches up with Alex and throws him in jail. A bizarre experiment rehabilitates him to become nauseous at the mere thought of sex, violence, and Beethoven. From this point on, a large subtitle might as well be flashing "SOCIAL COMMENTARY" at the bottom of the screen.

My thought is, social commentary in movies is fossilized dinosaur dung sold at museums, unless shown with a spark of creativity. This is not the case. The plot turn is not more complicated than anything you've seen on a Happy Meal box. Think: What goes around comes around. Alex treats his friends badly. Later, they do the same to him. Alex tries to beat the system. Alex drinks milk. Blah, blah, blah. Kubrick revels in long, dry stretches of cinematic wasteland that has everyone barking that it's the best thing since Oprah started reading books. Open your eyes to the truth! It's just a few people bullying you into liking something that you haven't had the time to make up your own mind about! Free the people! Begin the revolution!
A film for half-baked sociologists.
The tale of a violent man (a boy in the book) and societies attempt to reform him.

Never before has so much junk been written about a low budget movie that fails on so many fronts. You can read quite a bit of this cheap sociologist gobbledegook in the reviews that surround this one - in case you doubt my word!

Let us start with a few facts for a change: The film was made on the ultra cheap. Look at the lack of extras or expensive sets (all filming took place in real locations). Look at the cheap TV lighting. Look at the amount of hand held camera work. Warner Brothers didn't really want to make this movie, but Kubrick told them it would make pots of money and that won them over - in this he was right!

(To quote a Clash lyric: "They wear smart suits. And think it's funny. Turning rebellion in to money...")

Alex is living in a society we don't really see (in the movie at least). So how can we judge "society values?" Is Alex a one-off or common? This is a society that sells penis-shaped ice-lollies to children so it must be a bit sick in the head, but no attempt is made to give the movie on-the-ground context.

Set in the future is it? Well it is a future that looks a lot like the year it was made right down to the trousers and haircuts. Maybe the future looks a lot like 1972!

I look for films to do two main things: To educate or to entertain. Clockwork Orange does neither. Many scenes are quite revolting - and bizarrely they are even found revolting by some of the people who rate the movie highly!

I went to a rough house school that housed real football hooligans, rapists and sociopaths. Let me tell you now, they didn't like classical music or have the ability to explain their actions in clear language to anybody. Several were too stupid to even form sentences.

Having experienced/suffered the real thing why would I prefer to listen to the version of a highly protected/highly privileged middle class man (Kubrick) who - in success - chose to live his life behind barbed wire, protected by big dogs and shotguns?

I can stand rape and violence if it has a point to it, but here it doesn't. I am not surprised the original "rape victim" quit the movie, who would want to be portrayed on screen like that? Being held down and stripped, while someone with a bad comb-across tries to worm a hand held camera between your legs?

I don't attack Anthony Burgess's book (which I have read) because I think that is a valid exercise in literature. Not that it is that good or that original. Even AB admitted that the use of slang was borrowed from elsewhere.

I hate this film and the reasons that it was made. I also hate the people that make excuses for them. They should all be ashamed of themselves. Avoid at all costs.

Brilliant piece of film making that will burn you.
This was first of all,a damn good movie.But it's very dark,it has portrays scenes of rape,burglary,and a sick twisted murder scene.It follows Alex DeLarge,who thrives for rape,ultra-violence,and Ludwig Van.He and his friends walk the streets terrorising people.In one scene,Alex helps a girl to safety when she is about to be raped.In the next,he rapes a woman in front of her husband.After a while,he is arrested and taken into custody after murdering a woman.He of course,wants to get out of prison.We watch him as he is volunteering for a new drug,one that turns every urge of violence,or sex into sickness.He is completly turned around now,and at the mercy of all his previous victoms.It was a great movie,because it's different.But it is hard to watch at some points.I don't see why it didn't win any Oscars.
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