Plot
The 1971 film ‘A Clockwork Orange’ directed by Stanley Kubrick is an adaption of the 1962 Anthony Burgess dystopian novel. Burgess’ novel explores morality and free will, perhaps inspired by his own experiences during the London blackout in the Second World War where his wife was robbed and assaulted by deserted members of the US Army. The plot is based around protagonist Alex, the leader of the ultra-violent gang the droogs. Set in a near-future violent society, Alex becomes subject to state reforming attempts and aversion therapy. Having been brainwashed, some would argue Alex develops into a victim of the state, attempting suicide. The final chapter of the book shows him reflecting on his crimes and wishing to become a productive member of society with a family of his own. Interestingly, this chapter was omitted from American editions, due to the fact the publisher believed the moment of metanoia would be less appealing to a US audience and would make the ending darker. Kubrick adopted the American version, much to Burgess’ displeasure, stating ‘My book was Kennedyan and accepted the notion of moral progress. What was really wanted was a Nixonian book with no shred of optimism in it.”. The favoured American edition of the novel gives insight into common attitudes of the 1960s and 1970s. The satire used in ‘A Clockwork Orange’, and the loss of a hopeful ending reflects the anarchy erupting in Western society at the time. This time saw the birth of the New Left and rebellious youth cultures: hippie, punks, Teddy Boys, skinheads etc. It can be argued that both the book and film celebrate this disorder as the plot seems moralistically conflicting, as Alex becomes ‘the spoon-fed child of a corrupt, totalitarian society’(Kubrick). The story captured the popular culture of the 60s and 70s, evident when the Punk scene arrived, as Sex Pistols’ lead singer John Lydon claimed Alex as a role model and upon their manager asking Kubrick to direct a film about the band he responded that he’d “already made that movie and it was called A Clockwork Orange”.
Set
Kubrick is known for extravagant settings that mirror his characters. Not only do they reveal contemporary trends, but they also often highlight less obvious nuances of a character which proves how the director wants us to receive them. Firstly, the Korova Milk bar shown in the opening scene, immediately gives us an insight into the disrespect and menace of Alex and his Droogs. White fibre glass women posed as furniture symbolized their objectification of women, foreshadowing the rape scenes that follow. More importantly however, the controversy provoked from this exemplified increasing feminist attitudes during these decades. The Women’s Liberation Movement had emerged, and female artists were activitely critiquing the ‘male gaze’. The sculptures were inspired by artist Allen Jones whose erotic figure sculptures gained global attention in 1970, soon after outraging accusations of misogyny. Jones stated “The work came out of a preoccupation and a belief that it was possible to make a statement about the figure in the context of the artistic avant garde of the 60s.”. The milk bar sculptures shed light on fairly political Pop art movement, that set to challenge fine art traditions and bring about a cultural revolution.
Interestingly, Kubrick in an interview claimed “I think modern art’s almost total pre-occupation with subjectivism has led to anarchy and sterility in the arts. The notion that reality exists only in the artist’s mind… is only an illusion, was initially an invigorating force, but it eventually led to a lot of highly original, very personal and extremely uninteresting work.” The director’s own political views were addressed in this interview, where he stated “I am certainly not an anarchist…I believe very strongly in parliamentary democracy.”, continuing on to say that “the belief that the destruction of democratic institutions will cause better ones to arise in their place” shows “tragic fallacy”. From this we can infer that perhaps Kubrick felt the violent youth sub-culture wasn’t at all productive, as he dismisses anarchy and upon being asked ‘Alex loves rape and Beethoven: what do you think that implies?’ he replied expressing that it “suggests the failure of culture to have any morally refining effect on society. Hitler loved good music…”. From this reducing view of the arts it can be suggested that the film which is overcrowded with modern art perhaps aims to mock the contemporary preoccupation with it and the general feeling that art and music had a role in politics.
It is important to note however that Kubrick uses the character’s surrounding to amplify their inner mindset, and the fact that this is a futuristic film means that Kuberick perhaps intended to elaborate on and magnify existing trends. This is blatant when we step inside Alex’s parents flat, where 70s inspired saturated colours, and clashing prints overwhelm the small space. On their walls there are J.H Lynch’s kitsch mass produced portraits, revealing the infamous post-modernist style.
The interior is harshly juxtaposed with the dingy concrete of Thamesmead Estate in London, build at the end of the 1960s. Kubrick’s choice to give Alex a brutalist home not only allows him to fulfil the requirement of creating a futuristic set, but it also fits Alex’s violent nature due to the common perception that brutalism contributes to growing crime rates. Upon reception, many saw ‘A Clockwork Orange’ as a confirmation of why many brutalist buildings were being the subject of demolition discussions. As a result, the film provides an insight into the attitudes towards brutalist architecture in the 70s.
Soundtrack
One major change to the book was Kubrick’s decision to have Malcolm McDowell, who plays Alex, sing Gene Kelly’s “Singin’ in the Rain” whilst casually beating and raping a woman whilst her husband has to watch. Alex and the droogs gleefulness and senseless brutality during this scene taunts the watcher. The disturbing music sung throughout creates a sense of routine and the mundane, which many have argued made it a film “which seemed to glorify sex and violence” (Burgess). The shock factor of this scene was a reason why it had a very mixed response. James Naremore commented that the choice to choreograph this scene to Kelly’s song was a “leering assault on a great Hollywood film.”
Furthermore, the use of Beethoven, and in particular his 9th Symphony adds another juxtaposition, as smooth classical music plays alongside jarring images of violence. Alex’s love for Ludwig Van originated from the book, but it mentioned less specifically his adoration for classical music as opposed to Kubrick’s specific use of the 9th Symphony that became the soundtrack of his brainwashing. The fascination with the fascist past was widespread and didn’t exclude Kubrick, evident in his previous films Dr. Strangelove and Lolita. The horrors of Hitler and Nazi supremacy was also explored in in A Clockwork Orange, as many watching would be aware of their adoration of composers such as Beethoven. This haunting subtext not only provides insight into the impact of far right and left tyranny in the years that followed, but also it gives an understanding of why the film became the subject of many discussions
Reaction
The impact of the film can be characterised by music journalist Tony Parsons in 1995 who said “if you were a teenage in Britain in 1972 then A Clockwork Orange got under the skin that no other film did before. It was a validation of a way of life.” This sentiment was the reason that many despised the film, as it appeared to glorify the increasing violence that was occurring on the streets. David Bowie himself believed the anarchy explored in the film was the appropriate catalyst for “restructuring [the past] in a way we felt we had authorship of”, as he claims his “key ‘in’ was things like Clockwork Orange: that was our world… The idea of taking a present situation and doing a futuristic forecast, and dressing it in to suit: it was a uniform for an army that didn’t exist.”.
The notoriety of this film was proven immediately after being widely distributed in 1972 and 1973, when Kubrick himself withdrew it in Britain until his death in 1999. Whilst it was already banned in South Africa, Brazil and had scenes cut by Argentina, upon its release in Britain, Cinematograph Acts of 1909 and 1952 granted permission for some local councils to refuse screening. Two weeks of it’s release, David Hughes claimed that “right-wingers and tub-thumping MPs were baying for the film to be banned there before copycat violence could spread among the nation’s impressionable youth.”. Consequently, due to death threats and claims that violent incidents were directly linked to his film, Kubrick withdrew it, becoming one of the biggest examples of censorship in British history. This proves the extent of violence and the threat of youth sub-culture during the 1970s.