For this month’s first review for Genre Grandeur – Movies of the 70’s, here’s a review of A Clockwork Orange (1971) by Reut of Sweet Archive.
Thanks again to Sherise of The Girl That Loved to Review. for choosing this month’s genre.
Next month’s Genre has been chosen by me.
In honor of the month when Marty McFly came to visit us here in 2015, I have decided that we will be reviewing our favorite movies featuring time travel.
Please get me your submissions by the 25th of October by sending them to email@example.com Try to think out of the box! Let’s see what Reut thought of this movie:
Tough choice between Rocky Horror Picture Show and A Clockwork Orange. Both favorites of mine from the 1970’s, but I rather fancy Alex DeLarge, so I went for this bad boy.
A Clockwork Orange is an iconic film which created a lot of drama when it was released in 1971. The film looks a little forward into futuristic Britain and its dystopian over-controlling society. Its ultra-violent characters and graphic rape scenes weren’t very well accepted by society. It was censored and even banned in the US and UK do to its extreme nature. Its protagonist is Alex DeLarge, a witty and sadistic young fella narrating his bad habits. Along with his “droogs” (Dim – more muscles than brains, Georgie – Alex’s second in command, and Pete –drags along), this bad boy beats up old homeless people, rapes women and tortures their husbands, slams huge ceramic penises into rich women’s faces, and feels rather swell doing it. A cruel kid who has no morality what so ever, Alex is besotted by the female form into madness, and adores the blazing symphonies of one Ludwig Van Beethoven.
A Clockwork Orange can be divided into two parts; The rise of Alex DeLarge & the fall of Alex DeLarge.
Alex is a real anti-hero. He doesn’t really have a reason to be the way that he is. He is bad because he is bad, and that’s that. He has caring parents, he lives in a good home, and he (supposedly) goes to school. He was never really broken down by society. Alex owns up to his cruelty, he’s well aware of whatever mischief he’s been up to, and even treats it like it’s just another hard day’s night. He’s tongue is slick and he acts like a brought up spoiled prince, occasionally leaving his castle for a bit of the old in-and-out, in-and-out. His relationship with his droogs is more fear based than anything else. They fear him, they follow him, and they betray him eventually.
Here comes the second part. Back stabbed by his friends, Alex is left to the merciful hands of British government which is hell-bent to reform him. He is a chosen subject for an experimental treatment meant to rehabilitate criminals, which eventually causes him to gag with nausea every time he experience violence. Successfully reformed Alex returns to his old loving home to find that a new tenant has taken over his room and parents. Broken and sobbing in the streets of England, Alex roughly encounters old victims from his vile past, pleading for their mercy while coughing out burps and gagging sounds.
Kubrick’s execution of his brilliant vision of A Clockwork Orange is an absolute masterpiece, which even after 44 years is still very much relevant and talked about.
I would so like to pick Kubrick’s brain when he made A Clockwork Orange. I would love to be able to read his thread of thought when he adapted and sculpted Anthony Burgess’s novel (of the same name) into this mind-fucking genius of a film. Everything aspect of the film was well thought. The camera asymmetrical shooting angles, the zooming in on Alex wickedly smiling, the dystopian and psychological characteristics of the locations and set, the costumes, including the infamous droogs’ uniform of white shirts and pants, crotch cups, fake eye-lashes, the bowlers, canes, masks and boots. A perfect homage to the classic British gentleman, perhaps?