A Clockwork Orange: Viddying Metaphor

2020-05-18T19:45:50+01:00November 7th, 2019|CINEMA|

Whatever tempted Kubrick to adapt the novel A Clockwork Orange and deal with its extraordinary difficulties, his methods of rising to their challenges were equally extraordinary in themselves—so much so that he ended up creating a film that is richer than its source in texture and, in its extension and development of certain thematic implications, more resonant as well.

Accepting violence as a sensual pleasure: Pauline Kael and Kubrick’s “A Clockwork Orange”

2019-03-26T09:20:35+00:00March 26th, 2019|CINEMA|

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.”

A CLOCKWORK ORANGE – Review by Stephen Mamber

2017-12-23T15:22:19+00:00December 21st, 2017|Uncategorised|

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.

A CLOCKWORK ORANGE – REVIEW BY DON DANIELS [SIGHT AND SOUND]

2020-07-02T13:34:12+01:00August 21st, 2017|CINEMA|

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 [...]

A CLOCKWORK ORANGE (1972) – Review by Richard Schickel

2017-12-21T13:35:23+00:00August 11th, 2017|Uncategorised|

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.