A family heads to an isolated hotel for the winter where an evil spiritual presence influences the father into violence, while his psychic son sees horrific forebodings from the past and of the future.
A mentally unstable veteran works as a nighttime taxi driver in New York City, where the perceived decadence and sleaze fuels his urge for violent action, while attempting to liberate a twelve-year-old prostitute.
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
Being the adventures of a young man ... who couldn't resist pretty girls ... or a bit of the old ultra-violence ... went to jail, was re-conditioned ... and came out a different young man ... or was he ? See more »
Wendy Carlos's (born Walter) synthesized score features the first ever use of a vocoder. The two pieces featuring Carlos's custom-built vocoder, "Timesteps" (an original composition, heard during the Ludovico sequence) and Beethoven's "Ode To Joy" from his Ninth Symphony (heard in the record shop) were recorded long before the film was made. The vocoder, according to Carlos, was a development from an earlier, unsuccessful voice synthesis method she'd used on her 1969 album "The Well-Tempered Synthesizer", and she'd implored synthesizer inventor Robert Moog to come up with something better using standard Moog Synthesizer modules. "Timesteps" and Beethoven's Ninth were recorded as test/demonstrations of the new device, and she brought them to "A Clockwork Orange" when Kubrick hired her to score the film. At Robert Moog's memorial service, Wendy Carlos admitted that the tracks were recorded at 1/2 speed (7.5 ips), then played back at 15 ips simply because she couldn't play a monophonic keyboard at full, standard tempo. This is actually not an uncommon recording technique. See more »
At the beginning of the movie, it's cold enough to see the breath of Alex and the droogs, but when the tramp is speaking, we don't see his breath. 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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The opening and closing credits are slides with the random colors in the background and the text are only white, instead of the black background. See more »
One of those films you have to watch multiple times
It's hard to judge a film such as this. Its cold and hard, yet can be exhilarating and sarcastic. It can be average, yet it can be visionary. Exploitive? Satirical? Too many questions to consider when one watches this film.
Even after 34 years, this film still speaks volumes about our current culture, which many ideals are ringing true today. The younger generations are out of control due to lack of parental control, junk culture is becoming commonplace, violence is desensitizing the masses, and we all seem to be enjoying the ride on the way down. It's very difficult to find movies which can make such startling commentary, yet hold on to such accusations for an extended period of time. Nowadays, films are focused-grouped to death, conformity is more powerful than artistry, and money is far more important than quality. Kubrick took a huge leap with this film, challenging society to take a hard look at itself. Unfortunately, society wasn't ready for this film, which is why it is revered now more than ever.
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