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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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Awesome Movie
A pure classic movie. A psychological Thriller. One of the best of all time. Is a comedy and a horror all in one. You can't beat this movie. A oldie but with watching. You will love this movie. Makes you wonder why can't Hollywood make more movies like this. Made in1971 but is way before its time.

My favorite movie 11 June 2001 | by Ayatollah (Florida) – See all my reviews Without a doubt, my absolute favorite film of all time. I first saw this movie three years ago and I have been in love with it (and Stanley Kubrick) ever since. I never get tired of seeing this movie. Why it remains so under-appreciated (at least by "casual" movie viewers) is beyond me. Everything is great; acting, direction, cinematography, the sets, everything.

Something that I don't think anyone else commented on was the Russian motif. The names of the droogs (Alexander, George, Peter, and Dim...short for Dimitri) are decidedly Russian. The singer referenced in the record store, Johnny Zhivago, has obvious Russian overtones. The statement made by the Minister of the Interior about the "peace-loving citizens" is a direct reference to the name that Soviet government representatives applied to their people when talking about the Cold War. Red seems to stand out from other colors. And, of course, who could forget Nadsat, the Russian slang language? I wonder what Burgess and Kubrick were trying to suggest about the future of Ingsoc (those familiar with "1984" will understand.
Was Kubrick On Crack?
What a waste of time! I don't know what was more frustrating, a ridiculous plot that made little sense and seemed to go nowhere tortuously slow, the difficult-to-understand cockney accents, or the retarded cinematography. Yikes! How can this movie be in the IMDB top 250? Be forewarned, this movie SUCKS! There is a scene in the movie where a woman is bludgeoned with a large ceramic statue of a penis, and at the end, I felt as if I'd been similarly beat. I would bet that Stanley Kubrick probably smoked a phallic shaped crack vile for the inspiration to make this movie...nothing else makes sense! It oughta come with sub-titles, and while they're at it, make another movie.
Practically a parody
"A Clockwork Orange" is my favorite novel of all time. Before watching the movie I wondered if it would do justice to the novel. Well, it didn't. The movie was basically a porno version of the novel. Kubrick's aim seems to have been to take a philosophically meaningful story and incorporate as much female nudity into it as possible. Why? I guess it was avant-garde or something. I think there were a couple occasions on which bare "groodies" were possibly warranted. Other than that, the nudity was over-the-top and cheesy.

People talk about how disturbing the violence is in "A Clockwork Orange." Disturbing violence? I really didn't see any. What did masquerade as violence reminded me of the old "Tom and Jerry" show. Most of the violence consisted of Alex and his droogs tapping each other and their victims with canes, but the bizarre sound effects during these scenes told the viewer to see this as brutal. In another scene Alex raises a phallic sculpture in order to clobber a crazy cat-lady, but you don't actually see him hitting her with it; instead, you are shown something that looks a bit like cartoon fireworks. Then the rape scenes are always accompanied by upbeat music which just makes them seem comical. The violence in the book was truly disturbing, but I don't see how you are supposed to take violence in this movie seriously.

The book had a theme, which was that a person's most important right is being able to think and choose for himself, and nobody has the right to take that away from him regardless of the consequences. In its truly ridiculous final scene, the movie obliterated that theme by choosing to focus on and glorify Alex's sexual fantasies, as if he was some sort of perverted superhero. Thus the point the movie inadvertently seems to end up making is that if the government doesn't stop people, they will just go out and perform deviant acts, but deviance is so much fun that the government shouldn't try to stop them. This completely undermines the message of the book.

In short, the novel is a literary masterpiece. The movie is a hypersexualized, cartoonish version of that masterpiece, practically a parody. Good thing Kubrick didn't try a film version of "Pride and Prejudice"--wonder how that would have turned out. There are numerous things I hate about this movie, from the glow-in-the-dark jumpsuits to the fact that I will never be able to listen to the William Tell overture the same way again. But it had a few good points. It did follow the basic storyline of the book up until the end and was well acted and filmed. For that I will generously give it a 3.
Academy Award nomination despite it's initial 'X' rating inspired fans along with Alex's sweet smile as he imagines the old in-out in the finale
With the sudden death of Stanley Kubrick recently a part of my love for film died along with him as I recognized the unfortunate fact that there was no other director alive to closely heed the call for attention to detail and visceral content. The thought of looking to Steven Spielberg for future answers was almost unbearable as I remembered that his originality often gives way to family fare (The Pinnochio finale of `Artificial Intelligence') in an attempt to pad his already overloaded wallet. I thought about Sam Mendes and cringed as I remembered that for him art was a floating grocery bag with unclever teenagers clamoring around it in `American Beauty.' No one could replace Stanley Kubrick and after the intitial tears I bought his boxed set and tried to make the best out of a bad situation. And it was then that I rediscovered his greatest achievement `A Clockwork Orange.'

What inspired me to watch `A Clockwork Orange' all those years ago was initially it's `X' rating. I knew that mom would have a fit and I had to see why it was so provocative. For the better part of the 1970's it was also banned furthering my desire to see it. I was surprised by the `X' rating until I witnessed the hilarious in-out rape scenes and was somewhat amazed at the blatancy and sheer delight of the slow-motion pummeling of his droogies by the sweet looking but awfully scary Alex De Large (Malcolm McDowell). Upon further viewing a new love and passion grew for the film until I became part of the passionate cult that remains inspired by `A Clockwork Orange' more than any other films on the AFI Top 100 of all time list.

`A Clockwork Orange' was a very sad film for any lawmaker who adores social order and loathes freedom of speech in 1971. The response of lawmakers who banned this critical statement on social order proved their fear by banning it almost immediately though it still managed an Academy Award nomination for Best Picture and Best Director and deservedly so. Ironically, Kubrick's most original piece was a witty and insightful adaptation of the terrific Anthony Burgess novel. I believe that Burgess would have loved what Kubrick did with it. There were subtle changes and Alex ultimately failed to become a do-gooder in the film but it was all for the best. You almost never like the movie more than the novel but this is a film where Kubrick works overtime to bring his imagination to the proceedings and the movie is better than the novel.

With every Kubrick film comes the feeling of eating Turkish food. As a principle Turkish food can be presented with a taste that is somewhat unedible. More importantly is the idea of presentation and the experience requires elegance and an amazing contrast of color. This as opposed to taste makes for quality food. Similarly, Kubrick often shied away from telling a fundamentally coherent plot and concerned himself with the details of visual artistry. `A Clockwork Orange' was his best effort on the silver screen because he was able to finally incorporate a fantastic story with the elegant presentation of color, a task that surely kept him at night as he tossed and turned searching for a perfect balance of the two.

What truly makes this adaptation of the Burgess novel a success, is what Malcolm McDowell brings to the screen. He is Alex De Large and you can't help but kind of adore his urgent needs for a little of the old ultra violence each night as he unexpectedly makes his house calls through the neighborhood and pounces on innocent women. You also can't help but appreciate his interaction with his good old mom and dad as a tiny snicker forms when he insists on not being able to attend school and a sad but sweet look of confusion and sadness innocently appears as his parents introduce him to their replacement son and he finds himself homeless and in need of his droogies. His interactions with his droogies are a delight as he goes from `singing in the rain' to a mad villain beating up the little groupies in slow-motion. There is a sense of sadness as he ironically goes from being Beethoven's number one fan to a botched suicide that leaves him with broken limbs abounding but the same clever smile and good attitude. The finale is quite possibly the best ever in cinema as sweet Alex cannot help but think of a little of the old in-out as the nurses attempt to curtail his ultra violent tendencies. The slow smile that appears on his innocently despicable face is a sheer delight. The incredible accent makes it all the better.

`A Clockwork Orange' was a film that was so far ahead of it's time in 1971. The Kordova Milk Bar was a trendy little place we can only picture existing in the future. The fascinating way that his crime was dealt with could be the wave of the future should the capital punishment issue cause too much disagreement. In short, a little of the old ultra violence is what propelled this film to high rankings and what will eventually allow all of us to allow our children to see it, once their 18 of course.


Everyone is the Villain
Many people may say that Alex was the villain of "A Clockwork Orange", but he's only really evil for the 1st 3rd of the film, right? Well, who really is the villain? The people who punished Alex, the people who had their vengeance upon Alex? Or is it society, itself?

To me, "A Clockwork Orange" is a film in which everyone is wrong, yet everyone is right. Everyone is guilty, yet everyone is innocent. It is a chilling, emotional, disturbing, and, sometimes, quite funny look into the evils of the world itself. Everyone is villainized by Kubrick's lens, from the criminals that rape and murder victims, to the punishers of these criminals, enforcing cruel, almost torture-like methods to "cure" these criminals, to those who were victims of these brutal criminals, having their revenge using more harsh techniques of brutality.

"A Clockwork Orange" is a film that got me thinking and feeling. A true must see, Kubrick is a master!
A black comedy so black some will not see the comedy....
I find it bizarre how so many great films from spat upon genres like horror and costumed heroes receive such vitriol from critics who enjoy BAD films in those categories but despise good ones, alway's their pathetic answer is the same: 'OMG The 'BATMAN & ROBIN' IZ BETTER DEN The 'DARK KNIGHT' BEKUZ IT DUZNT TAEK ITSELF SERIOUSLY LOL!' I fail to understand that argument. It's fine for a director to have a sense of humor and not be obnoxious about his craft, but there's a difference between having fun and not giving any effort by goofing off. Would you give some lazy student who sleeps through class who always comes in high and writes 'F- you' on a test as an answer an A+ because he doesn't take school seriously? If you give bad films like 'Batman & Robin' good ratings over 'The Dark Knight' because they 'Aren't serious' you are essentially doing the same thing. This filthy minded Liberal mentality has infected all aspects of film, with many excellent directors taking flack for the serious thematic content in their films.

Chief among these persecuted directors is the once-vaunted Stanley Kubrick, whose name is now used by these indie film fans and liberal canker sores as slang for 'pretentious' or 'overrated' or 'Taking himself too seriously'(one truly bizarre troll who sees the untalented Jason Friedberg as superior to Kubrick who I insulted sent me a string of hate mail telling me to orally pleasure him for weeks, that sums up the level of maturity of these people). What these disgusting people forget, however, is Kubrick's amazing range. He has directed romantic films, horror films, science fiction films, period melodramas, war films, but also comedies. Not only is he responsible for the famous comedy/satire 'Dr. Strangelove'(Which I will review along with another, more blatant comedy I feel is a spiritual descendant of 'Strangelove'), he has also infused even his grimmest films with humor('Full metal Jacket' has lots of black comedy in the suffering of 'Gomer Pyle' and in the Drill Seargent's over-the-top insults, and the famous 'Here's Johnny' sequence in 'The Shining'), but 'A Clockwork Orange' is perhaps his most biting speculative satire, and like I said, it's so grim many will fail to see the comedy.

The plot is simple, an obnoxious but intellectual young gang leader named Alex(Malcom McDowell in what is easily his best performance)commits the vilest of deeds, is betrayed by his cronies who are sick of his tyranny, and volunteers for a reformative treatment which makes things worse than before. And it encompasses all spectrum's of comedy, from slapstick, sexual innuendo, irony and social satire. The wonky imagery, along with it's bizarre but blatant sexual overtones, ridiculous outfits and classical music score smacks not of a Kubrick film, but a Ken Russel film on drugs. Alex isn't really that different than cartoon character's like Woody Woodpecker, Bugs Bunny, and in some cases Mickey Mouse, or silent comedians like Chaplin's Tramp. He antagonizes people in a stylized manner, makes a bunch of dumb cracks then suffers last minute. There's a big difference, though. Here, we SEE and FEEL him pay for his crimes, and are forced to consider what we as an audience have accepted and voyeuristicly participated in, and makes us feel guilty. If that was Kubrick's only purpose, the film would still be a masterpiece, but it's just his secondary purpose.

He explores just what happens when Alex is subjected to a 'cure' that will rob him of his violent impulses. It does rob him of his negative impulses, but it fails to make him 'good' so much as unresponsive, even when he needs those impulses. It also stops him from engaging in the only loves in his life that AREN'T destructive; his love of 'Ludwig Van', his neglected and manipulated, but still beloved parents and his pet snake(Symbolically representing his now circumcised manhood). For all of his crimes, his suffering is genuinely heartbreaking, AND WE STILL FEEL GUILTY ABOUT IT, since Alex is a character that we should have no reason to feel sorry for, but do anyway. One minute we are forced to be disgusted with liking him, then disgusted that we ever hated him. Brilliant, manipulative, but brilliant.

Beyond that, the film poses the disturbing question about 'reform' programs: If it is unjust to rob someone as disgusting and deserving of punishment as Alex of his free will, then how much worse is it to subject lesser criminals or the mentally ill to such treatment? In real life, those lesser criminals or the mentally ill would be subjected to such treatment, and someone like Alex wouldn't get the chance, thus meaning that the truly innocent suffer even MORE undeservedly than the guilty. And then there's the implication that it all comes undone and that Alex returns to his old ways. So that means that in real life, lesser criminals would suffer FOR NOTHING.

What a brilliant question to pose: If the guilty don't deserve it, who does? It's all a balancing act, social commentary, satire, horror, humor, but Kubrick makes it all work, and doesn't 'Take himself too seriously' for a second of it, unless you consider a rape scored to 'Singin' in the Rain' and women eager for an orgy sucking on phallic-shaped lollipops to be reverent and conservative and stuffy.

Try and make a film as rich as that, 'Care-free filmmakers'. I dare you.~
My Hurting Eyes
After seeing this generally disagreeable assault on the senses, I need a rest now, possibly even a rest home for a while.

I last saw this turkey when it was released in 1971, the year that I graduated from college. I couldn't appreciate it at the age of 22 and still don't like it at the ripe old age of 67. I decided to watch it again because I had just viewed Kubrick's outstanding "Paths of Glory", one of the best films that I have ever seen on the subject of war and the arrogant abuse of power, and I was very curious as to why IMDb subscribers rated this film a stunning 8.3, which is very rare for any movie and ranks it as one of the top 100 movies of all time. After my second viewing, I'm at an even bigger loss about this very high rating and ranking than I was 45 ago.

I believe that the often unbearable level of intense brutality in this movie is enough to provoke actual, real-life bloodshed in persons who are already inclined to be violent, specifically against women and defenseless elderly people. As my country, the USA, is currently experiencing a very dangerous epidemic of horrifying, violent incidents, including several recent mass murders, movies such as this, are not at all helpful to our present situation, which has become a national crisis. I can't see a single benefit of this violence to me as a viewer or to my society as a whole. That having been said, I still believe in the first amendment and in freedom of expression, but after seeing this relentless display of viciousness, most of which seems to be merely for its own sake or perhaps fulfills a desire to shock viewers and for no other purpose, I find myself struggling with my own deepest convictions.

I read several of the glowing reviews of this movie by others on IMDb. Many described this as a "masterpiece" and an "extraordinary work of art" without clearly explaining why and without the use of adequate, specific examples that support their high ratings and adoration.

Personally, I could not relate to the central character, to his vicious gang, or to any other of the movie's unlikable or weak personalities in any way. During the "rehabilitation" phase of the movie, I could not understand what society or government, today or in the future, would elect to employ the methods that were used. The future world that was created, consisting of ugly, vulgar works of art and interior designs, abandoned theaters, perverse behavior, uncontrollable sex drive, constant physical abuse, disorder, neglect, filth, and general disrespect for anything and everything, was just too creepy for me to want to experience for even one hour, let alone two hours and seventeen minutes. Another major offense was the inappropriate use of Beethoven's magnificent music as it accompanies the most unpleasant visual images conceivable. It's too bad that deceased artists have no say as to how their works are used after they are gone, but who ever said that life was fair? I gave this movie a rating of four out of ten only because it did manage to produce a response of utter revulsion from within me, but I can't think of any other accomplishment. Not my cup of tea.
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.
So disgusting I am amazed it ever made to the top 250!
Usually, before watching any movie I look up IMDb to see its rating and viewers' comments on it. I did the same before seeing the Clockwork Orange. It said, mostly, yes, violence, yes, the main hero's a monster, but what a masterpiece! It seemed to deserve its place in the first 50 in the IMDb rating... Then I watched the film. And I believe it is one of the most disgusting films I ever saw. It is no doubt intended to be full of hidden significance, the grotesque manner in which characters speaks, move, dress, live. This is supposed to be "new and frighteningly surrealistic", a "sharp, futuristic social satire". The viewer is probably supposed to be saturated with disgust to the point that he/she realizes, oh my God, that's us! That's the worst part of a person in modern society, bla-bla-bla. Suppose, however, that you don't go along with this idea. What do you see then? You see an empty film. It is filled with violence that serves to get the oh-so-new idea of a social satire through. Because, you see, without it the viewer won't understand. He won't understand the idea of mixing English with misused and twisted Russian words. He won't understand that the Music line is supposed to be thought-provoking and not just stupid: ah, Beethoven and the Nazi, Beauty and the Beast, whatever. This film is two wasted hours of your life. After having watched it, you get the awful feeling you've been taken for an idiot. One way to deal with the situation is try to look thoughtful and say, "hmm, so new, so sharp". Another way is throw the DVD into the waste bin and try to forget you've ever watched it.
A Clockwork Lemon?
The flawed genius of Stanley Kubrick.

There is no doubt that this film was cutting-edge when made.

The censors must have had quite a time deciding how much sex, violence and colorful language the film's audience were going to get. But it isn't so shocking now.

This is my summary of the film.

Typical Kubrick: wonderful story, brilliant acting (as a result of ingenious casting) and clever cinematography. And don't forget the twisted, wacky, dark, funny script.

Untypical Kubrick: lame ending. So unfulfilling that I'd venture to say it is his most over-rated film. Still, as with Spielberg, a 'bad' Kubrick film is still better than most other 'good' films made.
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