From its opening shot of Malcolm McDowell staring with evil intent directly into the camera (which pulls back to reveal him drinking a glass of milk), Stanley Kubrick's brilliant CLOCKWORK ORANGE announces itself as a completely new kind of viewing experience. Banned in Britain for decades, the film, set in an unidentified .. Read more
| Starring | Malcolm McDowell, Patrick Magee, Michael Bates, Warren Clarke |
|---|---|
| Director | Stanley Kubrick |
| Genres | Drama |
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Unseen between 1974 (when Stanley Kubrick himself quietly withdrew it) and 2000 (after his death), it is little wonder that an inflated degree of mythology surrounds this notorious futuristic drama. Dramatised from the 1962 Anthony Burgess novella about anarchic yobs (droogs) in a dystopian future, it was shocking then and it's shocking today, particularly the scenes of rape and sadistic ultraviolence in the first half. Burgess and Kubrick may have been making intellectual points about the state and free will — Alex (Malcolm McDowell) is brainwashed into submission in the film's more ponderous second half — but the film doesn't quite live up to the masterpiece status that unattainability has bestowed on it. Fascinating and prescient, yes, and its moral ambiguity is brave, but it's really only essential viewing for cineastes and film students.
Kubrick's fantastic meditation on a violent future has seemed more prescient with every passing year. In extraordinary images of clown-like delinquents, he orchestrates to electronic music mindless street violence, which leads to mindful state violence a
Beethoven's 9th (or is it 5th?) will never sound quite the same again after this film. Futuristic thuggish violence, including some blood-curdling sexual assaults, in an utterly surreal setting. Showing its age - well pre mobile phones - this film nonetheless shows you how differently you can portray the future from Sleepers or Minority Report. The film was banned for years but is nonetheless (accordingly?) a cult classic - and deservedly so.
I WATCHED THIS FILM IN THE EARLY EIGHTIES ON PIRATE VIDEO WHEN IT WAS STILL BANNED, I EXPECTED THIS FILM TO TO BE GORY AND GROSS BEING BANNED FOR MANY YEARS AND WAS NOT SUPRISED TO FIND THIS FILM WAS TOTAL RUBBISH , ANYBODY WHO FINDS THIS FILM GOOD IS IS ONE VERY SAD PERSON, AS ARE MANY FILM CRITICS WHO SEEM TO FEED ON THIS RUBBISH, MAYBE IM JUST A SAD GIT WHO ENJOYS FILMS WITHOUT DEEP MEANIG THAT ARE ENTERTAINIG AND FUN.
LONG THE TRUE BRIT FILM NOT THIS CRAP.
'A sexless, inhuman film, whose power derives from a ruthless subordination of its content to the demands of telling a good story.' This is a nonsensical criticism. I thought good storytelling was a laudable ideal. The film doesn't really even subordinate its content, ie: Burgess' novel, it is a remarkably lucid adaptation, masterfully transforming Burgess' poetic prose into a cinematic symphony riffing on the theme of individual free will V's society.
It is only 'inhuman' if one is willing to believe that the primal urges its protagonist displays aren't human impulses, for good or bad. It is not my favourite Kubrick film, (I find the ending a little inadequate), but its still a powerful film that demands to be seen.
I'd avoided watching this for a while now, even though I like most of Kubricks films, this just seemed like it wouldn't be my kind of thing. It wasn't. I suppose being a 'cult' film should have gave it away, when you watch it you're either going to love it or hate it.
Personally I thought it was a case of style over content. The plot was vague, the acting was poor in most cases and the film never really established itself properly so that I couldn't tell what the setting was. Was it in the future? Some kind of alternate reality? The dialogue was detached and the fictitious slang, although I could understand it, made me even more aware that this was a film and I couldn't connect with it or garner any appreciation for it.
If you're thinking of renting it but don't know if you'll like it then chances are you won't. Stylisticly it is quite pretty in places but there are plenty of good looking films out there with good stories instead of this.
I HAVE BEEN WANTING TO WATCH THIS MOVIE FOR YEARS, AS IT IS SUPPOSED TO BE REALLY GRUESOM. REALLY BORING MAYBE BUT COMPARED TO TODAYS MOVIES, VERY BORING. I SUPPOSE IN ITS TIME IT WAS 'NEW AGE', BUT I FOUND IT LOUSY!
I WILL STICK TO MODERN FILMS!!
Beethoven's 9th (or is it 5th?) will never sound quite the same again after this film. Futuristic thuggish violence, including some blood-curdling sexual assaults, in an utterly surreal setting. Showing its age - well pre mobile phones - this film nonetheless shows you how differently you can portray the future from Sleepers or Minority Report. The film was banned for years but is nonetheless (accordingly?) a cult classic - and deservedly so.
I WATCHED THIS FILM IN THE EARLY EIGHTIES ON PIRATE VIDEO WHEN IT WAS STILL BANNED, I EXPECTED THIS FILM TO TO BE GORY AND GROSS BEING BANNED FOR MANY YEARS AND WAS NOT SUPRISED TO FIND THIS FILM WAS TOTAL RUBBISH , ANYBODY WHO FINDS THIS FILM GOOD IS IS ONE VERY SAD PERSON, AS ARE MANY FILM CRITICS WHO SEEM TO FEED ON THIS RUBBISH, MAYBE IM JUST A SAD GIT WHO ENJOYS FILMS WITHOUT DEEP MEANIG THAT ARE ENTERTAINIG AND FUN.
LONG THE TRUE BRIT FILM NOT THIS CRAP.
'A sexless, inhuman film, whose power derives from a ruthless subordination of its content to the demands of telling a good story.' This is a nonsensical criticism. I thought good storytelling was a laudable ideal. The film doesn't really even subordinate its content, ie: Burgess' novel, it is a remarkably lucid adaptation, masterfully transforming Burgess' poetic prose into a cinematic symphony riffing on the theme of individual free will V's society.
It is only 'inhuman' if one is willing to believe that the primal urges its protagonist displays aren't human impulses, for good or bad. It is not my favourite Kubrick film, (I find the ending a little inadequate), but its still a powerful film that demands to be seen.
This film is definitely not for everyone. I truly believe it's one of those 'love it or hate it' creations, and being a Kubrick film that's not entirely surprising. It carries on a bit, it isn't easy watching by any means, but by God! it paints a vivid picture.
This film wasn't banned: it was withdrawn by Kubrick himself due to copycat killings shortly after its 1971 release. 'A Clockwork Orange' is more shocking than violent, about a young man and his chums who get high in the most languidly mellow bar you've ever seen, and go about driving fast and committing sexual offenses. Essentially it's about bored teenagers in 70's England who get their kicks in varied ways, and unlike many allegedly shocking films of past decades [The Exorcist, Texas Chainsaw Massacre etc], this one still hits hard, still touches a raw nerve, still makes you think.
It's elaborate, it's outrageous, and the 'Singing in the Rain' scene is one of the most memorable in cinema history.
Like I said, it's not everyone's cup of tea, but this will certainly invigorate you, and open your eyes wide.
I have heard about this film for many years but now seeing it for the first time I was riveted by it. It's violent, disturbing, yet haunting. It's also a challenge to the liberal penal code reformists and a challenge to our values as a society - do we let "these people" back on to our streets or is the corrective philosophy the only genuine means of making society a safer place? The acting is superb and the scary atmosphere is sustained throughout. Well worth viewing- thought provoking.
Back when this was made the movie was banned in the UK as being too violent and influential on the youth of the time. It speaks volumes that now in today's society the ban has been lifted and it is now considered acceptable.
The movie is set in the future around a gang of youths who roam the streets kicking the poo out of anyone different, breaking into houses with masks on and raping the women who live there. Soon enough society steps in when one of the youths is sent down for murder.
Kubrick is and will always be the bestdirector in the world. It really shows here too. The vivid colours show how fantastic the world is to live in, which contrast directly with the main characters grey, white and black wardrobe showing his disillusionment with his life. The language is the work of genius. You quickly come to terms with the words being used and while you might understand the intention behind them, you would never feel confident enough to use them. Similar to how an adult uses the language of the younger generation and is damned by that generation for doing so.
The climax of the movie is stunningly real and leaves you both cold and nodding in agreement.
Absolutely worth watching.
'Shocking' is the word that i think best describes this film, i was a bit taken aback when i first saw Clockwork Orange and i didn't entirely understand what all the hype was about, because the film, in my opinion, does not live up to its reputation.
I was forewwarned of its coarse, graphic and sometimes gut-wrenching nature, but i was nevertheless disgusted by parts of it and not because i crave happy-endings or am easily offended, i just felt some scenes were taken un-necessarily far.
It deserves recognition for its originality and unique photography, and i agree it is certainly a cult film that movie-buffs should see merely for all the above reasons, but unfortunately, it has left me with no desire to watch again.
I don't see what all the fuss was about. This film disappointed me. It was considered controversial when first realeased, but nothing in today's film world. Not for me.
within ten minutes of playig film i turned it off. god knows how any of the actors or producers made any money off this film. if you like violence and innocent women being raped this is your film.
I TURNED IT OFF QUICKLY AS IT WAS HORRID AND I DON'T CARE IF THAT MAKES ME SOUND PASSE. I DON'T FIND VIOLENCE ENTERTAINING AND SO WAS NOT INTERESTED IN FINDING OUT WHAT HAPPENED BEYOND THE FIRST 10 MINUTES OR SO. I GAVE IT 1 STAR BECAUSE THE SYSTEM WON'T LET ME GIVE IT NONE.
Unseen between 1974 (when Stanley Kubrick himself quietly withdrew it) and 2000 (after his death), it is little wonder that an inflated degree of mythology surrounds this notorious futuristic drama. Dramatised from the 1962 Anthony Burgess novella about anarchic yobs (droogs) in a dystopian future, it was shocking then and it's shocking today, particularly the scenes of rape and sadistic ultraviolence in the first half. Burgess and Kubrick may have been making intellectual points about the state and free will — Alex (Malcolm McDowell) is brainwashed into submission in the film's more ponderous second half — but the film doesn't quite live up to the masterpiece status that unattainability has bestowed on it. Fascinating and prescient, yes, and its moral ambiguity is brave, but it's really only essential viewing for cineastes and film students.
Kubrick's fantastic meditation on a violent future has seemed more prescient with every passing year. In extraordinary images of clown-like delinquents, he orchestrates to electronic music mindless street violence, which leads to mindful state violence a