In this essay, Sobchack explores Kubrick's use of décor to emphasize the theme of violence in A Clockwork Orange
Stanley Kubrick ha equamente ripartito il film tra un’immagine agghiacciante del futuro e il grigiore dell’establishment antiquato e cadente. Per ripeterci che l’uomo non può migliorare, il regista ha fatto riecheggiare il romanzo di Burgess in una cassa armonica dagli effetti stereofonici.
Pauline believed she had a clear-eyed view of Kubrick’s intentions. At the end of the picture, when Alex’s former victims turn on him and he reverts to his old, corrupt self, she grasped that Kubrick intended it as “a victory in which we share . . . the movie becomes a vindication of Alex, saying that the punk was a free human being and only the good Alex was a robot.”
Stanley Kubrick has topped a masterpiece with a masterpiece. A Clockwork Orange is not the best Anglo-Saxon language film of 1971, it is the best film of 1971, and there are so many masterful things in it that I hardly know where to begin.
Let me report simply that A Clockwork Orange manifests itself on the screen as a painless, bloodless, and ultimately pointless futuristic fantasy.
If anybody is looking for a film which will embody and reinforce his worst moments of panic, it is available in Stanley Kubrick’s Clockwork Orange.
A Clockwork Orange has fallen heir to the same controversies regarding film violence that blossomed with Bonnie and Clyde and seem never to have withered. Arguments against the film have consistently been based on moral grounds.
by Don Daniels Stanley Kubrick's films seem to provoke the kind of mindless praise and attack that is called 'controversy' these days. In the case of A Clockwork Orange, the responses have ranged from 'brilliant' to 'boring', with special attention to the film's depictions of violence. If the viewer responds [...]
For a director like Stanley Kubrick, a novel like Anthony Burgess's A Clockwork Orange must have seemed an irresistible challenge. Kubrick is essentially a daring imagist, yet he has twice before been tempted by projects that pose powerful problems of language for the film maker.
di Pietro Bianchi È difficile dire quale fosse la precisa intenzione del regista Stanley Kubrick quando decise di fare un film, Arancia meccanica, dal romanzo di Anthony Burgess dallo stesso titolo. Per Burgess non ci sono dubbi. Cattolico, avendo sfiorato la morte per una grave malattia, desiderava mostrare i pericoli [...]
Le riedizioni di Lolita e di Arancia Meccanica: il cinema come "magnifica ossessione", la componente ludica della violenza in una messa in scena "assoluta" delle nostre pulsioni e illusioni culturali.
Director Stanley Kubrick lent a learned eye to A Clockwork Orange, enlisting lighting cameraman John Alcott, BSC to help create a bleak dystopian futurescape
A Clockwork Orange by Tony Parsons A Clockwork Orange was like seeing your little life blown up and put on the big screen. It took all the consolations of being a teenager in Britain in the early 70s — the tribal identity, the comfort of friendship, the mindless intoxication — [...]
The title of Stanley Kubrick's latest film, "A Clockwork Orange", alludes in two different ways to something circular or spherical that is closed on itself and spins. By Jean-Loup Bourget