① Clockwork Orange Beethoven

Sunday, May 23, 2021 3:53:57 AM

Clockwork Orange Beethoven



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Ludwig van Beethoven - Symphony No. 9 (A Clockwork Orange)

No, I think Kubrick is being too modest: Alex is all his. I say that in full awareness that "A Clockwork Orange" is based, somewhat faithfully, on a novel by Anthony Burgess. Yet I don't pin the rap on Burgess. Kubrick has used visuals to alter the book's point of view and to nudge us toward a kind of grudging pal-ship with Alex. Kubrick's most obvious photographic device this time is the wide-angle lens.

Used on objects that are fairly close to the camera, this lens tends to distort the sides of the image. The objects in the center of the screen look normal, but those on the edges tend to slant upward and outward, becoming bizarrely elongated. Kubrick uses the wide-angle lens almost all the time when he is showing events from Alex's point of view; this encourages us to see the world as Alex does, as a crazy-house of weird people out to get him. When Kubrick shows us Alex, however, he either places him in the center of a wide-angle shot so Alex alone has normal human dimensions, or uses a standard lens that does not distort. So a visual impression is built up during the movie that Alex, and only Alex, is normal.

Kubrick has another couple of neat gimmicks to build Alex into a hero instead of a wretch. He likes to shoot Alex from above, letting Alex look up at us from under a lowered brow. This was also a favorite Kubrick angle in the close-ups in " A Space Odyssey ," and in both pictures, Kubrick puts the lighting emphasis on the eyes. This gives his characters a slightly scary, messianic look. And then Kubrick makes all sorts of references at the end of "A Clockwork Orange" to the famous bedroom and bathroom scenes at the end of " He is photographed from the same angle Kubrick used in "" to show us Keir Dullea at dinner.

And then there's even a shot from behind, showing Alex turning around as he swallows a mouthful of wine. This isn't just simple visual quotation, I think. Kubrick used the final shots of "" to ease his space voyager into the Space Child who ends the movie. The child, you'll remember, turns large and fearsomely wise eyes upon us, and is our savior. In somewhat the same way, Alex turns into a wide eyed child at the end of "A Clockwork Orange," and smiles mischievously as he has a fantasy of rape. We're now supposed to cheer because he's been cured of the anti-rape, anti-violence programming forced upon him by society during a prison "rehabilitation" process.

What in hell is Kubrick up to here? Does he really want us to identify with the antisocial tilt of Alex's psychopathic little life? In a world where society is criminal, of course, a good man must live outside the law. But that isn't what Kubrick is saying, He actually seems to be implying something simpler and more frightening: that in a world where society is criminal, the citizen might as well be a criminal, too. Well, enough philosophy. We'll probably be debating "A Clockwork Orange" for a long time -- a long, weary and pointless time. The New York critical establishment has guaranteed that for us. They missed the boat on "," so maybe they were trying to catch up with Kubrick on this one.

Or maybe the news weeklies just needed a good movie cover story for Christmas. I don't know. But they've really hyped "A Clockwork Orange" for more than it's worth, and a lot of people will go if only out of curiosity. Too bad. In addition to the things I've mentioned above -- things I really got mad about -- "A Clockwork Orange" commits another, perhaps even more unforgivable, artistic sin. It is just plain talky and boring. You know there's something wrong with a movie when the last third feels like the last half. Roger Ebert was the film critic of the Chicago Sun-Times from until his death in In , he won the Pulitzer Prize for distinguished criticism.

Michael Gover as Prison Governor. Kubrick was able to create a movie where he left his personal seal. The colors, settings, music… everything in A Clockwork Orange is designed and measured to the very millimeter. The language is also noteworthy. The slang used by the protagonists combines words from other countries, especially Russian. The music plays an essential role. Alex is the main character. A Clockwork Orange takes us to a dystopian future where Alex and his droogs enjoy ultraviolence.

Rapes, robberies, fights… everything goes for Alex and his droogs. The world where he lives and the relationship with his parents may also have something to do with his behavior. However, in this dystopian future, young people seem to spend their time committing crimes without any other purpose in life. This leads us to believe that perhaps society does have something to do with it. There, Alex loses his name and acquires his new identity as an inmate, becoming prisoner In jail , Alex feels a certain attraction for the Bible.

But his interpretation of this book is very different from the conventional one. Alex identifies with the most violent scenes. Due to his interest in the Bible, the jail chaplain takes a certain liking to Alex. He sees him as a young person to be helped. Nevertheless, Alex despises the chaplain, although he never reveals it. The movie asks us to consider the true nature of evil. Is Alex evil by nature? Is he evil due to his circumstances? Does society have something to do with it? There are many questions that arise as we get to know Alex. But we have even more questions when we start to discover what the Ludovico treatment is like.

They also lower prison costs. In reality, the treatment is nothing more than a government strategy. Are the people who try to make Alex good actually evil? Rather, it makes people more violent. The Ludovico treatment promises to change these youths and change their antisocial behavior to appropriate and socially-accepted behavior.

Alex submits to the treatment and turns into a good man. All of this leads us to question whether Alex has lost his freedom or his free will.

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