A Retrospective View of “A Clockwork Orange” (1971)
Is it better for a man to have chosen evil than to have good imposed upon him?
Martin Scorsese famously condemned superhero movies and remakes, and claimed that the film industry is dying. He’s right.
In light of a stagnant lull in film-making, I believe it’s important to recognise the innovation in classic movies, all from the Golden Age of Hollywood, to the teen movie takeover in the 1980, to the rise of satirical parody in the 1990s.
I’m going to start with a movie that has stuck with me since I saw it for the first time this year. I’m slightly embarrassed to admit that I hadn’t taken the time to indulge before 2023, but the important thing is that I did, and I thoroughly enjoyed it.
A Clockwork Orange, directed by Stanley Kubrick, stands out as a seminal piece of cinematic artistry that continues to provoke thought and controversy even today, 52 years after its release. What else can you expect from the man who brought us the first movie rendition of Vladimir Nabokov’s Lolita, and Stephen King’s The Shining? Let’s not forget the absolute mind-altering phenomenon of 2001: A Space Oddity.
Set against the backdrop of a dystopian future, A Clockwork Orange delves into the depths of human depravity, free will, and the contentious relationship between individual choice and societal control. Adapted from Anthony Burgess’ 1962 novel of the same name, it remains a powerful and unsettling exploration of the human psyche and the consequences of reckless violence.
“Goodness is something to be chosen. When a man cannot choose, he ceases to be a man.” — Godfrey Quigley as the Prison Chaplain in A Clockwork Orange.
Within the first few minutes, Kubrick’s signature direction is palpable, where the unsettling visual style, meticulously crafted set designs, and a distinctive use of vivid colours serve to immerse the audience in a disconcerting and nightmarish world. As we are introduced to the futuristic urban setting, we are confronted with a jarring depiction of a society edging on moral decay and authoritarianism.
These profound themes were transcendent of its time, and encouraged audiences to contemplate the nature of evil, the limitations of individual freedom, and the potential for societal manipulation. Protagonist Alex DeLarge, portrayed with a chilling intensity by Malcolm McDowell, forces us to face the uncomfortable reality of our own capacity for both brutality and redemption.
The film’s release coincided with a period of intense political and social unrest, where the notions of authority and individual freedom were contested. Kubrick’s unapologetic exploration of violence and the underlying question of free will struck a chord with audiences who were navigating a world rife with political disillusionment and a growing distrust of institutions. As such, A Clockwork Orange served as both a product of its time and a profound commentary on the moral decay and social fragmentation that characterised the early 1970s.
Retrospectively, the film’s depiction of a dystopian society under the grip of oppressive state control serves as a poignant reminder of the anxieties surrounding the governmental overreach and the erosion of civil liberties during a tumultuous era.
Cinematography
Kubrick’s audacity to face a troublesome time came hand in hand with his indelible mark made on the landscape of cinematic artistry. In order to evoke these self-reflective reactions, Kubrick used his meticulous attention to detail and visual storytelling to craft a world that is both visually captivating and thematically disquieting.
The film’s enduring impact on the realm of cinematic aesthetics is a testament to Kubrick’s legacy as a visionary filmmaker who dared to challenge conventional norms and redefine the possibilities of cinematic expression.
The distinct visual style of A Clockwork Orange is characterised by a unique blend of vibrant colours, bold compositions, and meticulously designed set pieces. Kubrick’s deliberate use of contrasting colour schemes, particularly the juxtaposition of vivid, almost surreal hues with the bleak and oppressive backdrop, serves to underscore the stark contrasts inherent in the film’s thematic exploration of the duality of human nature.
Kubrick’s skillful manipulation pf camera angles and innovative use of tracking shots and wide lenses create a sense of dynamic immersion, drawing viewers into the unsettling world of our protagonist. The deliberate juxtaposition of intimate close-ups and expansive wide shots serves to accentuate the emotional intensity of pivotal moments, amplifying the audience’s visceral experience and deepening their engagement with the film’s harrowing narrative.
Two scenes in particular stand out as demonstrations of Kubrick’s dark take on the analysis of the human psyche, and they both made a lasting impact on me as a viewer, and as a film fan.
The “Singing in the Rain” Scene:
This is one of the most chilling scenes in A Clockwork Orange, where Alex and his “droogs” (gang) embark on a violent home invasion. As they terrorize a helpless couple, Alex sadistically sings the cheerful melody of Singing in the Rain by Gene Kelly, all whilst subjecting his victims to brutal physical and psychological torment.
This scene is a stark illustration of the film’s central theme of marrying joy and brutality, and with this, highlights the disturbing nature of Alex’s sociopathic tendencies and his callous disregard for the suffering of others.
The Ludovico Technique Sequence:
The harrowing Ludovico Technique sequence is a pivotal moment in the film, where Alex undergoes a controversial psychological conditioning experiment aimed at eradicating his violent ways. The claustrophobic atmosphere created serves to emphasise the film’s overarching exploration of the fragility of human morality and the dangers of manipulative power dynamics within society.
Kubrick’s framing and use of close-up shots capture the intensity of Alex’s psychological and emotional turmoil as he is subjected to a barrage of disturbing images and sensations. This sequence serves as a powerful commentary on the ethical implications of employing aversion therapy as a means of social control, prompting viewers to question the boundaries between punishment and rehabilitation.
Performance and Characters
For me, I was instantly captivated by Malcolm McDowell’s portrayal of the charismatic yet deeply disturbed Alex DeLarge. That’s just one of the reasons why A Clockwork Orange withstands the test of time.
McDowell masterfully captures the essence of Alex, effortlessly oscillating between charming wit and spine-chilling brutality, leaving all of us both entranced and repelled by what can only be described as the perfect antihero. His magnetic presence on screen, coupled with a nuanced portrayal of inner turmoil, completely obliterates the traditional good vs evil trope, and leads us to question what defines the line between the two.
However, amidst McDowell’s performance, the supporting cast of A Clockwork Orange contributes a compelling layer of depth to the film’s narrative. Patrick Magee’s portrayal of Mr. Alexander and Michael Bate’s depiction of the authoritative Chief Guard Barnes infuse the film with an added dimension of psychological intensity and power dynamics.
Collectively, all performances within the film contribute to the provocative and emotional legacy surrounding it. In my eyes, each character is an intricate exploration of what humans are like at their most primal, vulnerable, and gluttonous. A rare insight into what we may be like when faced with the death of society. The death of rules. Even the death of character.
However, perhaps the most terrifying aspect of it all, is how we can all find ourselves relating to Alex DeLarge at one point or another. If we can see ourselves in such a polarising character, then how well do we really know our truest, rawest selves?
Sound and Music
The immersive and unsettling ambiance of A Clockwork Orange can be attributed to the sound design and choice of music, which ranges from classical compositions to contemporary pop. It’s the perfect portrait of beauty and brutality.
One of the most notable musical motifs in the film is the use of Beethoven’s Ninth Symphony, particularly in the hauntingly iconic Ode to Joy. Kuberick’s deliberate incorporation of this classical masterpiece serves as a thematic anchor, symbolising both the power of art and the capacity for beauty to exist within a world consumed by moral decay. It also acknowledges the resillience that can occur when a person is faced with such despair.
Not only that, but there was one specific moment of dialogue during the Ludivico Technique that I particularly enjoyed.
Whilst Alex is being forced into the viewing of ‘ultraviolence’, his doctors overlay the sound of Beethoven. Alex doesn’t take very well to this:
ALEX: Stop it… stop it, please! I beg of you! It’s a sin! It’s a sin! It’s a sin, please!
DR. BRODSKY: What’s all this about sin?
ALEX: That! Using Ludwig van like that! He did no harm to anyone. Beethoven just wrote music.
DR. BRANOM: Are you referring to the background score?
ALEX: Yes!
DR. BRANOM: You’ve heard Beethoven before?
ALEX: Yes!
DR. BRODSKY: You’re keen on music?
ALEX: Yes!
DR. BRANOM: What do you think about that, Dr. Brodsky?
DR. BRODSKY: It can’t be helped. Here’s your punishment element perhaps.
It was such a subtle reference to the liking of music by the counter-cultural generation. Late 1960s, early 1970s rebellion came with a new wave of musical styles, and as a result, delinquency was closely associated with music. Along with this, Alex is being forced to endure this torture, accompanied by his favourite musician. Perhaps this is symbollic of the indoctrination of the youth to encourage them to drop their interests for a more socially acceptable pass time.
Accompanying the soundtrack, the film’s innovative use of sound effects, ranging from eerie electronic distortions to jarring industrial noises, contributes to its disorienting and surreal ambiance. Kubrick’s attention to auditory details creates a sensory experience that compliments the film’s visual narrative.
Controversy
A Clockwork Orange faced intense scrutiny and censorship due to its explicit content and its incisive critique of authoritarianism and the dehumanising impact of state-influenced conditioning of human behaviour. Its graphic portrayal of violence and sexual imagery, paired with profound philosophical propositions, challenged the conventional viewing experience from an audience of moviegoers.
The film has been banned throughout history in multiple parts of the world, but is now accepted by the majority as a piece of cinematic history to be treasured for the rest of time. Kubrick’s style evokes such emotion, and has become a trademark for his brand. I find myself comparing Kubrick’s dark approach to filmmaking with current auteurs like Darren Aronofsky (Requiem for a Dream, Black Swan) and Ari Aster (Hereditary, Midsommer).
As audiences revisit the film through a contemporary lens, its exploration of the fragility of moral principles and the ethical dilemmas inherent in the pursuit of social order remains as relevant and thought-provoking as ever, prompting a continued discourse on the intricate relationship between power, violence, and the human condition.
