Word: kubrick
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...Stanley Kubrick's A Clockwork Orange arrives on the scene, and the whole sticky business increases fourfold. Angry viewers write angry letters to bemused editors. Critics swoon in admiration or bellow in rage. Admittedly, A Clockwork Orange is at times a black and raw film; it has pushed violence about as far as is imaginable. But this still can't explain the sheer depth of resentment it has provoked...
...both defenders and detractors of the film have argued the question of violence on conventional critical grounds. Is it gratuitous, they ask, or does the larger context of the film sustain it? Is it exploitative or central to Kubrick's vision...
...first hour of the film, adolescent protagonist Alex and his gang ravage a futuristic England, rape, vandalize, and murder. They are complete scoundrels, not redeemed by mutual esteem or sympathy for the unfortunate. But they are so vital and exuberant, and Kubrick is so technically masterful that, despite one's moral abhorrence, one cannot help but sympathize. One giggles...
...grant that the violence is gratuitous and exploitative, but when we have said this, we have solved nothing. The appeal remains, and the appeal is the problem. Not: how could Kubrick do that? But: how can we admire him in spite...
...ended. The discussed the movie, comparing it to work of Hitchcock and debating good bad points in technical terms. I notice things I'd never seen before, such the reasons for the film's geographical the need for ending and beginning with the same scene, and why the Kubrick chose for the score differed so from his previous works. An hour after had officially ended, a third of the still there...