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 by attempting to liberate a presidential campaign worker and an underage 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
Malcolm McDowell was hurt when, after he and Stanley Kubrick had had such a close relationship during filming, Kubrick seemed uninterested in continuing their friendship afterward. McDowell later attributed some of that sentiment to his being a young actor, unfamiliar with the intimacy of the filmmaking process, but admitted that he was very upset by it at the time. McDowell remained friends with Kubrick's wife, Christiane Kubrick, and, while visiting her after Kubrick's death, had a good cry over his grave site. See more »
Position of the prison governor's hands when he explains about the Ludovico treatment. 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 »
The Japanese version has every single scene of nudity blurred out. See more »
Beethoven, black humour, sex, violence, they don't make 'em like this anymore! A movie milestone that still packs a punch.
Kubrick's 'A Clockwork Orange' is one movie that is talked about more than it is watched, especially in Britain where it was banned for many years. One of the most notorious and controversial movies of the 1970s (a decade which also gave us such notorious and controversial movies as 'Taxi Driver', 'Salo', 'Straw Dogs', 'Last Tango In Paris', 'In The Realm Of The Senses' and 'Last House On The Left') it still packs a punch today. Don't just watch it because of its reputation. watch it because its a damn good movie. Kubrick was on top of his form here, and in my mind it ranks with 'Dr Strangelove' and 'The Killing' as his most successful work. Purists may whine about the changes to Anthony Burgess novel, which is indisputably a modern classic, but I think Kubrick's adaptation is as good as can be expected for the era in which it was made and the constraints of cinema (even now). Malcolm McDowell is superb as Alex, a brilliant performance which he will always be remembered by. In some scenes I was reminded of his Mick from Lindsay Anderson's 'If..'. While the two movies have no real connection it's interesting to compare McDowell's performances. The rest of the cast are also very good, especially Alex's droogs (actors largely unknown outside Britain), and cult favourite Patrick Magee ('Masque Of The Red Death') in a pivotal supporting role. I also got a kick out of Aubrey Morris' Deltoid. Morris is an interesting character most familiar to me for appearing in 'The Wicker Man' and trash classic 'Lifeforce'. 'A Clockwork Orange is a movie milestone that is as great now as it ever was. I have watched in many times and it never fails to deliver. One of the very best movies of the 1970s, which means it is one of the very best movies ever made. Highly recommended viewing.
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