In future Britain, charismatic delinquent Alex DeLarge is jailed and volunteers for an experimental aversion therapy developed by the government in an effort to solve society's crime problem - but not all goes according to plan.
A family heads to an isolated hotel for the winter where an evil and spiritual presence influences the father into violence, while his psychic son sees horrific forebodings from the past and of the future.
A mentally unstable Vietnam War veteran works as a night-time taxi driver in New York City where the perceived decadence and sleaze feeds his urge for violent action, attempting to save a preadolescent prostitute in the process.
Robert De Niro,
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 programmed 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. Written by
Anthony Burgess originally sold the movie rights to Mick Jagger for $500 when he needed quick cash. Jagger intended to make it with The Rolling Stones as the droogs, but then re-sold the rights for a much larger amount. Ken Russell was then nominated to direct because his style was considered well-suited for the material. He would have cast Oliver Reed as Alex. Tinto Brass was another possible director. At some point, someone suggested rewriting the droogs to be girls in miniskirts or old-age pensioners. Tim Curry and Jeremy Irons turned down the role of Alex. Stanley Kubrick once said "If Malcolm McDowell hadn't been available I probably wouldn't have made the film." Author Anthony Burgess initially distrusted Kubrick as a director, but was happy with the results. He felt the film later made the book, one of his least favorite books he had written, overshadow his other work. See more »
In the marina scene, George is seen wearing his hat as he gets up in the shot of Dim falling into the water. Moments later as Alex is cutting Dim's hand, George is doubled over in the background without his hat. As Dim falls backward in recoil from the cut, George is seen in the same position with his hat on. See more »
There was me, that is Alex, and my three droogs, that is Pete, Georgie, and Dim, and we sat in the Korova Milkbar trying to make up our rassoodocks what to do with the evening. The Korova milkbar sold milk-plus, milk plus vellocet or synthemesc or drencrom, which is what we were drinking. This would sharpen you up and make you ready for a bit of the old ultra-violence.
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There are no opening credits after the title, which is followed by the opening shot of Alex the Droog. Although it is now commonplace for major films to not have opening credits, in 1971 it was considered rather unusual and was considered a trademark of director Stanley Kubrick. See more »
We All Are Ready For A Little Of The Old Ultraviolence
What a masterpiece!! He loves to hold a mirror up to our monstrous faces beneath our masks and laugh at our vanity. Stanley delighted in having fun with our hubris about ourselves. Yes, little Alex has all violence removed from him and he is set free in that idyllic paradise we kid ourselves is our society. He is as helpless and defenseless as a little lamb. His former gang members, now cops, proceed to torture and almost kill him. I hear feminists yelling what is the point of all that sexist violence in the beginning. I have never found one women who liked this movie; this is largely due to the rape scene and where Alex chases the women with the giant porcelain male sex object. Well, the point is for fools, who like Aristotle, hold that nobody enjoys doing evil; they only do evil because they believe it to be good. Sorry, the world is filled with monsters who enjoy hurting others for the wonderful feeling of power it gives them. Look at Alex's home life, how little and powerless he is, but at night he goes out and gives himself a real ego boost at the expense of everyone else.
It reminds me of Freud's letter to Alred Adler: "Why on earth should I care for creatures the majority of whom will do me great harm for the smallest gain and a minority who will harm me just for the enjoyment it gives them." This is the point; WE ARE ALL READY FOR A LITTLE OF THE OLD ULTRAVIOLENCE. It is neither a popular nor pleasant truth; Stanley loves to let us see what irrational violent savages living within a complete psychotic delusion of our real nature. The bone thrown into the air becomes a nuclear missile platform in space in 2001. The same message: you are still the murderous violent savage do not be so impressed with yourself, you big phony. The whole thesis of DR STRANGELOVE is this: despite all this technology these dangerously irrational fools will wipe themselves all out. We will meet again somewhere, do not know where or when: human irrationality and world destroying technology equal only one thing: ANNIHILATION.
The core of the film has nothing to do with Alex; it is the society around him that thinks non violence is the cure of criminality when the world is a dangerous and violent place. But, they will never let that reality into their little bubbles they live within to keep up a happy soporific coma. Alex is you; Alex is me we are monsters. Let the power grid go off and we will all be Alex I assure you. The monster is within each one of us; Kubrick wants you to see when he was released among us it did not quite go the way we expected. Self delusion the theme of Kubrick you will find it always in his works that and how in the dark we are about our real nature.
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