Review: A Clockwork Orange

Set in a supposedly near-future England, Alex DeLarge (Malcolm McDowell, in his signature role) and his gang of ‘droogs’ patrol the streets looking for a bit of the ‘ol ‘ultra-violence’, and maybe a bit of the ‘ol ‘in-out’ while they’re at it. They are amoral rapists and hooligans, but after a botched burglary, Alex is turned on by his followers (who include a young Warren Clarke), who are sick of being led, and decide to stitch him up. Alex is arrested and eventually convicted of burglary and murder, and sentenced to prison for 14 years. Inside he plays the model prisoner an eventually signs up for a radical, experimental rehabilitation therapy. After this drastic process, Alex comes out seemingly a different man than when he first arrived in prison. But what of the world around him? What will his former ‘droogs’ make of him now? Patrick Magee plays a victim of Alex who reappears later on in the film with a much changed dynamic, Aubrey Morris plays family doctor Deltoid, and Michael Bates is a very loud prison guard.

 

Misunderstood by a myopic few (the late Roger Ebert for instance) at the time, hailed as a masterpiece by others then and now, this controversial 1971 film from Stanley Kubrick (“Lolita”, “The Shining”, “Paths of Glory”) was kind of the “Fight Club” of its day, except with a much more stunning aesthetic. Whatever you make of its content or message, this is one of the most striking and unusual films ever made, and in my opinion very well-done. It may be the only film one can consider dated, current, and ahead of its time all at once, if that makes any sense. In fact, it’ll only make sense to those who have seen the film. It’s the damndest thing, really, and I think it’s because everything has been heightened, as Kubrick has a truly unique vision. I mean the narration alone is seriously bizarre, as Malcolm McDowell’s Alex sounds like smartened up jargon, and yet it’s nothing that I’ve ever heard before or since. Meanwhile, the behaviour of Alex and his ‘droogs’ comes across as the ultra-violent extreme version of the smart-arse personas The Beatles exhibited in “A Hard Day’s Night”, with their sarcasm and mocking.

 

The production design is a warped blend of artistic, futuristic, and pornographic, and the music is mostly classical, rather than contemporary. The music score itself by Walter Carlos (who became Wendy Carlos the following year!), however is of the synth variety, and it’s absolutely spot on for this film, giving it a futuristic kind of sound (Synth tends to be associated more with the 1980s, this was made in the early 70s). The penis statues, by the way, seemed excessive in the later “Caligula”, but here they work in darkly funny fashion, as Alex uses one as a murder weapon at one point.

 

The film has a real brain in its head and lots to say, even if I personally don’t share the viewpoint. A more scathing depiction of the reform and rehabilitation process one cannot find in cinema. Kubrick is clearly thumbing his nose here. There’s a particularly funny scene where Alex is in prison reading the bible and is interested in all the violence and sex which he seems to fantasise further about. He even sees himself as the guy torturing Jesus. Brilliant. However, I’d argue that the point being made at the end is a little more open to interpretation than some might suggest. ***** SPOILER WARNING ***** It's ultimately about free will. However, is Kubrick saying that Alex is incurable evil or is he saying that the rehabilitation process is useless if we don’t give prisoners a chance once they are released? Is he simply saying that the rest of the world is just as violent as Alex so that ‘curing’ him only makes him a lamb to the slaughter? Is the film a criticism of the inhumane ‘treatment’ methods? I don’t think the film gives us an easy answer to any of that, perhaps on purpose. Hell, he might not even be entirely serious here. Look at the hospital scene towards the end. One of the photographers is quite clearly made up to look like Adolph Hitler. I have no idea why, but it’s there and very funny to anyone clever enough to spot it. Whatever you think the message is, at least it will get you thinking. ***** END SPOILER *****

 

The film was pretty controversial for its time, but Kubrick cleverly uses classical music (not to mention a memorable use of ‘Singin’ in the Rain’) and sped-up footage for the film’s more violent and/or sexual scenes that kinda allows him to get away with a lot more. Of all the films from the 70s that indulged in similarly violent/sexual themes like “Straw Dogs” and “Last House on the Left”, Kubrick’s film stands tallest, mostly because he was a true artist and genuinely had something to say, whatever one personally makes of it.

 

The cast in this film is top-notch from top to bottom, with the perfectly cast Malcolm McDowell towering over all as Alex. His lack of sincerity in particular is hilarious, but he eventually becomes almost a sympathetic figure the longer the film goes on. It’s remarkable, and a testament to McDowell that it’s also believable. I also loved the supporting performances by Patrick Magee and the highly underrated and eccentric Aubrey Morris. Magee’s reappearance in the latter stages is wonderful, whilst Morris is unforgettably bizarre as Dr. Deltoid, who seems to come from another planet entirely.

 

The only thing in the entire film that fails to work for me is the performance by Michael Bates as the prison guard. His shouty performance verges on Pythonesque at times. Otherwise, this is an undeniably very well-made film, that admittedly isn’t an easy watch or one that I will find myself re-watching often. Is it pretentious? Every damn frame, but so what? It works, as Kubrick’s insane vision really gives this one a lift. Outstanding camerawork by John Alcott (“The Shining”, “The Beastmaster”) is a particular highlight, with a memorably bold use of colour. Based on an Anthony Burgess novel, the screenplay is by the director. I admire this one more than I enjoy it. 

Rating: B