Genius of Cinema: A Clockwork Orange
Many have hailed it as a piece of cinematographic brilliance. Others have criticized its vulgar nature, calling for its abolishment. Whatever the case, A Clockwork Orange is one of the most influential and controversial films of the twentieth century. At its core, it tackles the concepts of experimental drug treatment on an emotionally disturbed and severely sadomasochistic individual. The film, which was adapted from a 1962 novel written by Anthony Burgess, is a brilliant and unconventional combination of impeccable acting, cinematography and directing.
Alex DeLarge (depicted by Malcolm McDowell) commands a small troupe of misfits known as “Droogs.” With his companions behind him, Alex lives a life of mischief and murder. The four go from house to house, raping and physically abusing their victims. After Alex is eventually caught and thrown in jail, he opts to participate in an experimental procedure that is said to reform disgustingly corrupted minds.
Many have attributed the innovative nature of the film to its cinematography. The scene in which the protagonist lures two ditzy teenagers back to his house for an orgy is especially unique. In one long continuous take, an explicit sex scene is condensed in the timeframe of approximately two minutes. The very presence of the scene is indicative of director Stanley Kubrick’s unparalleled willingness to tempt the forces of taboo. The scene breathes life into both the criticisms and praises of the film. It signifies not only the creativity of the producers, but also the cinematographic genius that ties the film together.
Kubrick knows no bounds in filmmaking—he laughs in the face of political correctness. Thus, the film’s most compelling scene is also its most grotesque. Alex slowly and methodically strips off the clothing of a victim as her husband helplessly watches. The director manages to perfectly capture the horrifying expression on the husband’s face. Both grotesque and intriguing, it entices viewers, allowing them to peer directly into the face of what had previously been forbidden, what had never before dared to make its way onto the prestigious silver screen. The scene exhibits the perfection that Kubrick often demanded of his actors.
The acting is, simply put, outstanding in every possible way. McDowell, known for his roles in films with risqué subject matter such as the infamous Caligula, perfectly captures the essence of a psychopath who subconsciously wants nothing more than to perpetuate his life of crime. He demands respect from his “Droogs” much like he demands respect from the audience—his gaze is that of intimidation, of unadulterated insanity. The audience is essentially shown the depths of a truly irrational and demented mind.
What is perhaps the most intriguing aspect of the film is its soundtrack. Beethoven’s Fifth Symphony can be heard in various instances throughout. The symphony functions to juxtapose the character’s extremely violent nature with the traces of benevolence and humanity that continue to exist deep within him. The inclusion of such a profound piece of music aids in the character development. Ostensibly, Alex is a cold-hearted criminal that truly believes his actions have no consequences. Thus, one is left to ponder whether the music fuels his psychotic nature or whether it ameliorates it. The sweeping orchestra envelops the audience, allowing one to be completely absorbed within the confines of the film.
Many things have been said about this truly remarkable film. In many ways, it wasn’t solely deemed controversial for the various sexually explicit scenes, but for the depth of its subject matter. A Clockwork Orange is, without doubt, one of the most magnificent films of the twentieth century and should surely not be missed.
Podcast:
9 comments
Well, to me your review is flawless. The podcast was exceptional. Your voice is so calming; I find it hard to believe that it comes out of the mouth of someone as anxious as you are.
I guess I’m going to have to count on Chang to find something wrong with your review. I hate you by the way.
Alright. You used “juxtapose”. Don’t you think its time to start expanding your vocabulary a little, Corey? My English teacher called me out the ONE TIME I used “juxtapose”, but look at you! Every single essay! In case I didn’t mention it before; I hate you.
I wouldn’t say anxious so much as neurotic.
I use juxtapose incessantly as a tribute to my favorite director, Quentin Tarantino. In all of his films, Tarantino makes cameo appearance. In the film industry Walter, this is what’s called a “trademark.”
Juxtapose is my scholarly trademark. It’s also an homage (Chang) to my lovely high school film teacher that pronounced it as “juxtapasose.” She had the nerve to criticize MY writing….
P.S. I love you Walter.
I was gong to use “neurotic”, but “anxious” seemed like a much less loaded word that would still get my point across without completely destroying your ego. Next time I won’t take your feelings into consideration as much as I did this time.
Now, you used the word homage. First of all, you called it “an homage” instead of “a homage.” In addition, you really didn’t use the word in the way that is most commonly accepted. I believe you had Mr. Baldwin as well, and homage was one of our vocabulary words during junior year. If you remember correctly, Mr. Baldwin said we should use “homage” within the praise “paid homage to.” If your going to use scholarly words, Mr. Harris, you should try and use them properly. Otherwise it looks very unprofessional. In this context, you look very unprofessional. I’m starting to see why your film teacher criticized your writing. If I saw juxtaposed used in 3 consecutive essays, I too might have lowered your 100 average to a 95.
I love you too, Corey. I am truly sorry I had to do that to you, but, let’s be honest, you had it coming.
I did have Mr. Baldwin. He was, to be quite frank, one of the best teachers I’ve ever had. Although I highly respected the man, I didn’t take his word as the absolute truth. “To pay homage to” is a perfectly acceptable use of the word.
I don’t, however, feel I should take advice from someone who says, “If your going to use scholarly words.” The adjective “your” doesn’t precede a noun. In this case, Walter, I believe the conjunction you’re looking for is “you’re.”
“Otherwise it looks very unprofessional. In this context, you look very unprofessional.” Now, I might be repetitive at times, but this is just downright absurd. Thank you for this, great king of redundancy.
Well, Mr. Harris/Trippiedi, in my urgent haste to point out your mistake before you were able to edit it, I may have forgotten to put an apostrophe between the “u” and the “r” and I may have forgotten to put an “e” after the “r”, but I assure you that I meant to use the proper contraction* within the context I used.
I am actually quite ecstatic that you pointed out my repetition of “unprofessional” in the last two sentences of my retort. You see, Corey, Mr. Baldwin taught us more than just diction; Mr. Baldwin taught us to write with style. My good sir, repetition is a writing style used by very astounding authors. My redundancy was meant to add emphasis to the word “unprofessional.” Thanks to your comment, Mr. Harris/Trippiedi, you have added even more attention to the word, thereby displaying your unprofessional and amateurish literary skills.
Conjunction =/= Contraction.
Though I’m not the grammar whiz.
If we were counting, that would be 2 points for the Cbao-WalterZ team and 0 for the Harris-Trippiedi team. Its 2-0, Core; get your head in the game.
“get your head in the game” is a song from high school musical…
Corey gets too much love.
Although I’m not a movie fanatic, I’d like to know if these criminals become ‘changed men.’ I think I’ll watch it over the break!
You must log in to post a comment.