Filmmaker Stanley Kubrick was no stranger to controversy. Even though most of his efforts were highly praised by critics everywhere, films like PATHS OF GLORY, LOLITA, and DR. STRANGELOVE rubbed a lot of people the wrong way. The same can be said about his 1971 film, A CLOCKWORK ORANGE, which received huge critical acclaim despite the fact that it is without a doubt the most notorious title in his filmography. A CLOCKWORK ORANGE is indeed an excellent picture, but it's not hard to see why it has earned such a sordid reputation.
Watching A CLOCKWORK ORANGE is like immersing yourself in a barbaric, futuristic nightmare. The cops are corrupt, the government is increasingly intrusive, and the kids are getting their jollies from raping, robbing, and rumbling. In other words, it's just like today--only much more surreal.
Kubrick's vision of a violent, sadistic future is uniquely disturbing. Rather than showing the chaotic, digitized, robotized, post- or near-apocalyptic future that we're all used to seeing in other sci-fi movies, Kubrick opts for a colorful, vibrant, and unfittingly serene landscape. The interiors are darkly lit and uncomfortably roomy, the furniture is gaudy and abstract, and the architecture is almost Escher-like in its complexity. This sort of `neo-apocalyptic' setting is most likely what makes the film all the more alarming, since we as viewers are not accustomed to seeing such primitive acts of violence and barbarism atop a vibrant, modern-art backdrop. Even the graphically violent scenes are orchestrated in an upbeat and dance-like fashion, such as the scene wherein Alex and his droogs sexually assault a woman to the tune of "Singin' in the Rain".
The messages in A CLOCKWORK ORANGE are equally troubling. The film clearly stresses the importance of the human right to a free will, but it also makes clear the problems that come along with such a right--namely, that given the choice, many people will choose to be hateful and vicious, simply because they can be. A CLOCKWORK ORANGE also seems to suggest that there is no hope for dangerous individuals such as Alex; that those who lack a conscience now will lack a conscience forever, regardless of what happens to them--a troubling message indeed.
Though much of A CLOCKWORK ORANGE is overtly shocking, it is still a relatively humble film. It is evident that Kubrick had a lot to say with this movie, but rather than deliberately blurt his ideas at the viewer to get his point across, he wisely chose to implement the tiniest of subtleties in order to convey his messages. This is what makes A CLOCKWORK ORANGE stay fresh and interesting, even with repeat viewings. It is one of those films where no matter how many times one sees it, he will always pick up on something new.
Watching A CLOCKWORK ORANGE is like immersing yourself in a barbaric, futuristic nightmare. The cops are corrupt, the government is increasingly intrusive, and the kids are getting their jollies from raping, robbing, and rumbling. In other words, it's just like today--only much more surreal.
Kubrick's vision of a violent, sadistic future is uniquely disturbing. Rather than showing the chaotic, digitized, robotized, post- or near-apocalyptic future that we're all used to seeing in other sci-fi movies, Kubrick opts for a colorful, vibrant, and unfittingly serene landscape. The interiors are darkly lit and uncomfortably roomy, the furniture is gaudy and abstract, and the architecture is almost Escher-like in its complexity. This sort of `neo-apocalyptic' setting is most likely what makes the film all the more alarming, since we as viewers are not accustomed to seeing such primitive acts of violence and barbarism atop a vibrant, modern-art backdrop. Even the graphically violent scenes are orchestrated in an upbeat and dance-like fashion, such as the scene wherein Alex and his droogs sexually assault a woman to the tune of "Singin' in the Rain".
The messages in A CLOCKWORK ORANGE are equally troubling. The film clearly stresses the importance of the human right to a free will, but it also makes clear the problems that come along with such a right--namely, that given the choice, many people will choose to be hateful and vicious, simply because they can be. A CLOCKWORK ORANGE also seems to suggest that there is no hope for dangerous individuals such as Alex; that those who lack a conscience now will lack a conscience forever, regardless of what happens to them--a troubling message indeed.
Though much of A CLOCKWORK ORANGE is overtly shocking, it is still a relatively humble film. It is evident that Kubrick had a lot to say with this movie, but rather than deliberately blurt his ideas at the viewer to get his point across, he wisely chose to implement the tiniest of subtleties in order to convey his messages. This is what makes A CLOCKWORK ORANGE stay fresh and interesting, even with repeat viewings. It is one of those films where no matter how many times one sees it, he will always pick up on something new.