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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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Sick in a way, but excellent
Clockwork Orange is definitely the most bizarre film I've ever seen. The whole idea of brainwashing a criminal to never do harm again in itself is genius. Stanley Kubrick amazes me with just the music he picked for the movie alone. I was hooked from the opening scene! But, I did find the movie rather disturbing at some points, with the violence and rapes. But the story just made me look past it, and concentrate on the movie. In my opinion, its one of the most brilliant pictures ever made. But, you really have to look past the things you might find disturbing, and just concentrate on the story.
Meet one of the most deviant characters in cinema history
I read somewhere that the late Stanley Kubrick was reputed to be against conventional and repressive forms of establishment.If that was so, then I believe that he potently expressed it in "A Clockwork Orange."

Based on Anthony Burgess' 1962 novel, the film introduces us to one of the most violent, amoral and deviant characters in cinema history---Alexander (but of all the film characters, protagonists and antagonists alike, whom I've encountered so far, he's the only one who has registered so strongly in my mind;and Malcolm McDowell's realistic and complex portrayal has greatly helped in making that happen).

I can't forget the opening shot where, while we begin to hear his introductory voice-over narration, we see Alex, together with his fellow "droogies," sitting idly on the floor and staring sharply at us, as the camera slowly pulls back and then we notice marble (or is it wax?) figures in strangely provocative poses.It serves both as an invitation and a warning:we're invited to take a peek into a "new friend's" visionary milieu, but then be prepared for the consequences.

At first, one can't help but be disgusted at the atrocities---devilish and whimsical at best---that Alex and his gang have committed (they maul an old and sick beggar, involve themselves in a violent gang fight, barge into a quiet household, tie up the couple, torture the man and rape the woman).Alex even disdains his family and entices women (total strangers to him) into sex as if he were asking them for a dance in a party (and this might be so, if one is to have his own "reading" of the outrageous scene where Alex does sex with two pretty ladies in fast motion and to the tune of Rossini's "Overture to Wilhelm Tell").Such kind of "rebellious" attitude of Alex may strike one as being done out of youthful capriciousness---at best, a mere show just to satisfy some self-serving ends;nowhere is to be found any justifiable or rational basis at all.

But not until the film reaches its critical point where Alex murders (with the use of a "phallic" furniture) a woman (who's fascinated with cats) when the latter aggressively refuses his advances does one start to rethink his/her thoughts.You have to see for yourself how Kubrick manipulates the narrative from this point on for the viewers to have a "change of attitude" toward Alex.

After that, one can already make sense of Alex' "rebellious" attitude, for the conflict has become clear:it's Alex vs. all the conventional and (as it turns out) dubious forms of establishment---family, government, mass media, education and state.They have laid down the standards on how one must think, feel and act within a given system, but once it is achieved, they are at a loss as to what to make of the individual---to have a firm grip on him or to leave him out in the open---leading them in the end to play the game according to the rules set by the individual himself.

And in Alex' case, as the state's program of reforming criminals and producing pliant citizens will be put to shame because of the former's failed suicide, the people concerned are now willing to fall on their knees before Alex---let Alex be what he is."Now, I was finally cured" has become a classic line.

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.
Why didn't I watch it sooner?!
I have only just watched this for the first time after hearing about it for so many years, and I would have to say that it is one of the best movies I've seen in a long time. It is shocking but in all the right ways. Malcolm McDowell was just amazing as Alex. The acting throughout the movie was superb. Definitely a work of art that has stood the test of time.
Ah, I love to vidie a good film every now and again. Stumbling across this movie one day on TV sparked my interest in the film. Years later, I was talking to the boy which would later become my boyfriend (and film mentor so to speak) he told me what the film was called. Not too much time after that I purchased the film. It later sparked interest in the man who became my favorite Director; Stanly Kubrick. "A Clockwork Orange" is a truly unique film. It really makes some one think, what would you do to make sure that your safe? This film is incredibly controversial. Its very comical and ultra violent. A Lamentible comedy so to speak. This film isn't for the faint of heart, and its really not for those of us who blush at the sight of skin (I like it anyway ^-^'). On a scale of 1-10; 1 being the worst, 10 being the best I give Stanly Kubrick's "A Clockwork Orange" a perfect 10. This movie is my favorite film by my favorite director.
Rings true to the very core
This controversial film is been called out for a variety of reasons here and elsewhere. Its vision has been questioned, its adherence to Burgess' source material has been ridiculed, and its sex/violence has been called gratuitous, among many other things. One reviewer here states that "art is the antithesis of violence".

I couldn't disagree more. To me, art is the expression of inner truth. Inner truth is singular to the individual, yet universal to a world that discards its own pretensions and value judgments in a sincere attempt to cathect. In general, the presentation of such art in our world is shaded, subtly and otherwise, by the artist's sense of gain/loss and right/wrong that is dictated by the outer world's expectations.

In Stanley Kubrick's "A Clockwork Orange", there is no such shading - Alex's world is strikingly white-hot in its brilliance and in its pin-spot focus. This film presents its world simply as it is, as well as the characters who inhabit it. Episodes of sex, violence, tenderness, delusion, and manipulation are shown as clear-as-light, deep-focus images of the continuous whole. There is nothing false here - nothing. And accordingly, the impact of the film rips to the core of the viewer's own sense of inner truth.

To quote the shopworn phrase, they don't make movies like this any more, and even for its time, this film stands out as a staggering accomplishment.

Let it take you.
"What's it going to be, eh?"
In Kubrick's adaptation of Anthony Burgess' bizarre 1959 dystopian novel, a juvenile delinquent (Malcolm McDowell) and his gang of droogs whittle away their time partaking in such wholesome activities as beating homeless drunks, warring with rival gangs, raping helpless women, and enjoying the music of Ludwig Van Beethoven. There are two things happening in this film: one that Kubrick inherited from Burgess' writing, and another that is endemic to the cinematic medium.

The first role of 'A Clockwork Orange (1971)' is as a rather vicious political satire, dryly mocking the hypocrisy of the government and its policies on institutionalisation and criminal rehabilitation. In the film, the Minister of the Interior (Anthony Sharp) is depicted as opportunistic and self-serving, latching onto the unproven Ludovico technique in a bid to stem his party's failing popularity with voters. When public opinion turns against the therapy, the Minister very swiftly back-peddles, reversing the treatment so that Alex may return to his former ultra-violent ways: "I was cured alright!"

The UK edition of Burgess' novel contained a final chapter in which Alex sees the error of his former ways, and vows to reform into a productive member of society. Kubrick was unaware of this addition until he had almost completed the screenplay, and never considered using it in the film. This was, I think, a good decision. Burgess' ending shies away from the problem: by letting human nature run its course, he seems to be implying that the problem of juvenile delinquency will sort itself out. Kubrick, admittedly, doesn't offer any solutions of his own, but the corrupt manner in which he ends the film leaves a sour taste.

The Ludovico technique involves the screening of movies, which also allows Kubrick room for a degree of self-referentiality. It is in the audiences' nature to recoil from acts of sex and violence, and Kubrick's hard-nosed, deliberately-subversive approach (utilising the perspective of its biased protagonist and narrator) only encourages this response. Just as Alex is exposed to the Ludovico aversion therapy, Kubrick is exposing his audience to the same treatment. Does it work? Do we become desensitised to the violence, or do we begin to associate socially- accepted cues (i.e. Beethoven's Ninth, "Singing in the Rain") with acts of evil?
One of the greatest films of all time. Malcolm McDowell is THE MAN in this film. He's portrayed in this film as a psychotic degenerate, and yet we all wind up feeling sorry for him midway through the film.Why? Because he gives one of the greatest performances by any actor ever in this film, that's why. We all fall in love with the charismatic, cunning, Beethoven-obsessed sex fiend. A young man we'd all love to bring home to mother.
2nd most poetic and artistic
Aside from Alfred Hitchcock's "Vertigo", A Clockwork Orange is probably the most poetic and artistic movie ever made. From it's haunting and downright frightening first shot of Alex's face (with his perfectly constructed wardrobe and one fake eyelash, an idea nothing short of genius), to the dialogue (consisting mainly of Nasdat, a language similar to english though certain terms are used in replacement of our terms. Example: Good=Horrorshow, In-Out, In-Out=Sex), to the ultra-modern houses that Alex and his droogs raid, to the ironic and disturbing idea of having Alex sing "Singing In The Rain" while shamelessly raping a middle-aged woman, to the fish eye lens shots Kubrick uses to capture imagery, to the contraption that forces Alex to watch the ludivico video, and finally to the overall question of the entire movie: What is it better for a man to be--naturally evil or mechanically enforced good? Alex has a chance to experience them both.

Now to the plot: Alex (Malcolm McDowell)is a disturbed youth who spends his days faking sick from school so he and his droogs (friends) can drink milk-plus at a bar or go out for "a little of the ultra-violence" It is kind of like a gang of theirs, which Alex leads, consisting of 4 members. They wear the same costumes, fight other gangs, beat up homeless drunks, rape innocent women and sometimes kill them, and try to run cars off the road. Alex is obsessed with Beethoven, who he refers to as "Ludwig Van". He associates Beethoven with sexual violence. After he angers his droogs and puts down a potential mutiny through (what else?) violence, they decide to double cross him by knocking him out after he kills a woman, leaving him for the police. He hates it in prison, but he manages to humour the religious head there by pretending to be interested in the bible (all he really cares about in the bible are the sexual and violent parts, which he imagines himself in). Through gaining the religious head's favor, he is allowed to get off early for his crimes, on one condition--he undergoes the "Ludovico Treatment": a treatment supposed to cure the need for violence. The treatment consists of holding Alex in a chair, putting him in a straitjacket, forcing his eyelids to stay open by putting hooks under his eyes, keeping his head stationary, and thereby forcing him to watch the video that they display: A video of sexual violence with a soundtrack of bastardized Beethoven music. Alex is absolutely shellshocked at the sights and sounds of this video. After he watches it, you see him on a stage crouching down. A topless woman walks onto the stage. He reaches for her breasts. Before his hands can get there, he crumples over and starts gagging. Whenever Alex now thinks a violent thought, he becomes unbearably sick. Then he goes back into the everyday world, where the tables are turned on him in almost every way.... Malcolm McDowell's performance perhaps ranks among the 10 best ever given. His brave portrayal of an absolutely monstrous teen is so frighteningly believable that the mere sight of him is scary. The music is appropriately moody, as it is in all Kubrick movies. The art direction is flawless, as is the cinematography. This is the most Kubrickesque of all his films, and probably his best overall. The surreal atmosphere is disturbingly relevant, though perhaps not at first glance. This movie deserved oscars for best picture, best actor, best director, best adapted screenplay, best cinematography, best art direction, best costume design, and best sound. IT GOT NONE OF THEM!!! It was nominated for best picture, best director, best adapted screenplay, and best editing. What did it lose to in all 4 categories? THE FRENCH CONNECTION!!! The two movies are completely incomparable--The French Connection seems so shallow compared to A Clockwork Orange. It's losing to The French Connection ranks among the top 5 mishaps of the oscars: the other 4 being Citizen Kane losing to How Green Was My Valley, an unnominated Vertigo losing to GIGI?!?!, Goodfellas losing to Dances With Wolves, and Pulp Fiction losing to Forrest Gump (Honorable mention goes to an unnominated Usual Suspects losing to the poorly acted Braveheart). In retrospect, one wonders how any of them could've happened, but they did. Somehow. See A Clockwork Orange. And if you're one who says it is nothing but "sexual, ugly rubbish," you probably (not definitely) should be forced to be placed in a contraption not unlike the one Alex was forced into, and be forced to watch the movie over and over until you realize the true wonder of cinema that it is.
The high ratings for this movie is saddening. Hours of my life I cannot retrieve.
Yes a give it a flat out 1. 1 has (awful) next to it and that is what this movie is in every way.

So many people just love this film. If you are considering watching it be prepared for violence without conscience, gang rapes, dialog you will not understand, more violence without conscience, more gang rapes (with all the men clothed and of course the woman nude and trying to fight for her life) which is very disturbing.

Basically a group of guys that live with utter hate for everything, hang out and some twisted bar where all the coffee tables are statues of nude women spread and ready for sex.

There is not one individual in this movie that has any redeeming qualities of a decent human being whatsoever.

The main villain gets caught and is submitted to experimental techniques to help him detest or fear ever doing crime again.

This film was such an utter waste of a few hours. Many more will probably want to watch this film to see what the hype is all about.

This movie is filth, drizzle, swill.. get my point?

Kubrick loves hate and violence, loves the overuse of sex.

So many people think he was a genius, and that this film was a masterpiece. I have just come to the conclusion that there are some people out there, well many, that cannot get enough violence, acts of hatred, acts of defiance, acts that are shocking. What empty lives these people must have. Then they try find how deep this movie is and the various deep meanings. THERE AREN'T ANY. It is a mess. Chaos. A bunch of characters with no redeeming qualities.

Kubrick believed mankind was born violent and hateful. To each their own.

Very simply put, this movie is sick, twisted, hateful, disgusting, and people love it. What a shame.
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