A Clockwork Orange Full Movie
⚡ ALL INFORMATION CLICK HERE 👈🏻👈🏻👈🏻
A Clockwork Orange Full Movie
All Titles TV Episodes Celebs Companies Keywords Advanced Search
Fully supported English (United States) Partially supported Français (Canada) Français (France) Deutsch (Deutschland) हिंदी (भारत) Italiano (Italia) Português (Brasil) Español (España) Español (México)
'The Platform' & Future Films From the IMDb Top 250
A Guide to the Films of Stanley Kubrick
Malcolm McDowell: The IMDb Original Interview
Malcolm McDowell: The IMDb Original Interview
2001: A Space Odyssey and Eyes Wide Shut are just the beginning of Stanley Kubrick 's legacy. Are you up to speed on the film icon's style?
The doctor standing over Alex as he is being forced to watch violent films was a real doctor, ensuring that Malcolm McDowell 's eyes didn't dry up.
Many of the continuity errors are not in fact errors. Stanley Kubrick purposely included many continuity errors as a way of creating a feeling of disorientation for the audience. That is why people's positions change, props are reorganized, and hats (and other articles of clothing) appear and disappear.
There are no opening credits after the title, which is followed by the
opening shot of Alex the Droog. Although it is now commonplace for major
films to not have opening credits, in 1971 it was considered rather unusual
and was considered a trademark of director Stanley Kubrick.
In 1973, a new version of "A Clockwork Orange" was released to theaters with an MPAA rating of "R", replacing the previous "X". The new version contained approximately 31 seconds of replacement, less lascivious footage for two scenes: the high speed (2 fps) orgy in Alex's bedroom, and the Ludovico rape scene. The bedroom scene was made more comical by having one of the girls fall off the bed and Alex joins her down there. The Ludovico rape scene was altered in that the scenes with the first two droogs was from the side and waist-up, so it is less explicit. The third droog was removed completely and replaced with a close-up of one of the doctor's face as they are watching Alex's treatment.
Symphony No.9 in D Minor, Opus 125 Choral: II. Scherzo. Molto vivace Written by Ludwig van Beethoven Recorded by Deutsche Grammophon Gesellschaft
Brilliant, stunning and disturbingly entertaining
Few films are as sensational or infamous as Stanley Kubrick's "A Clockwork Orange". It's impossible to sit through ACO and not have a reaction; whether it be shock, disgust or amazement. The savage tale of a brutal young droog and his subsequent "reformation" by the government is as shocking and thought-provoking as ever. While the film's depictions of violence and sex are what it's most known for, ACO works on far deeper levels. The disturbing portrayal of youth and its satirical depiction of a government's attempts to create a better society are brilliant, but the most fascinating aspect of ACO is the questions it poses about good and evil. While the crimes Alex commits at the beginning of the film are atrocious, what the government does to him is worse. The film presents the absolute worst aspects of man, but shows that even these are still favorable to a man without the choice. People can denounce the film because of its brutal content, but the importance of the questions it poses can't be denied. Equally excellent to the film's content is the effort by the crew. Kubrick's perfectionism pays off well, as ACO in one of his most visually striking films. Malcolm MacDowell is nothing short of amazing as Alex. Kubrick's use of surreal imagery and set pieces, as well as the ingenious use of music to compliment the on-screen action, creates a world that perfectly reflects the protagonist's behavior and the government's policies. A Clockwork Orange is by no means an easy film to get through, as many will be turned off by the scenes of violence and rape. But this masterpiece is far more complex than a simple romp through a world of youthful violence. It's a rare example of film-making that demands that the viewer actually think. Real horrorshow all around, Oh my brothers.
Stanley Kubrick's A Clockwork Orange
Suggest an edit or add missing content
What is the streaming release date of A Clockwork Orange (1971) in Canada?
Fall TV Guide: The Best Shows Coming This Year
Hollywood Romances: Our Favorite Couples
In the future, a sadistic gang leader is imprisoned and volunteers for a conduct-aversion experiment, but it doesn't go as planned. In the future, a sadistic gang leader is imprisoned and volunteers for a conduct-aversion experiment, but it doesn't go as planned. In the future, a sadistic gang leader is imprisoned and volunteers for a conduct-aversion experiment, but it doesn't go as planned.
HOME
WATCH NOW
WATCH LIVE
WATCH MOVIES
SCHEDULE
DAILY SCHEDULE
MONTH SCHEDULE
THIS MONTH
EMAIL SIGN UP
Sub Navigation
MESSAGE BOARDS
PODCAST
FILM FESTIVAL
CLASSIC CRUISE
CLASSICS IN THEATERS
WINE CLUB
TCM LIBRARY
SILENT SUNDAY NIGHTS
NOIR ALLEY
HOME
WATCH NOW
WATCH LIVE
WATCH MOVIES
SCHEDULE
DAILY SCHEDULE
MONTH SCHEDULE
THIS MONTH
EMAIL SIGN UP
Sub Navigation
MESSAGE BOARDS
PODCAST
FILM FESTIVAL
CLASSIC CRUISE
CLASSICS IN THEATERS
WINE CLUB
TCM LIBRARY
SILENT SUNDAY NIGHTS
NOIR ALLEY
2h 17m
1971
Scientists use mind-control experiments to turn a gang leader against violence.
Clockwork Orange, A (1971) -- (Movie Clip) It Was Ludwig Van
Clockwork Orange, A (1971) -- (Movie Clip) He Must Be A Great Disappointment
Clockwork Orange, A (1971) -- (Movie Clip) Singin' In The Rain
Clockwork Orange, A (1971) -- (Movie Clip) There Was Me, That Is, Alex
Clockwork Orange, A (1971) -- (Movie Clip) I Knew Such Lovely Pictures
Los Angeles and New York openings: 19 Dec 1971
Hawks Films Limited; Polaris Productions, Inc.
England, United Kingdom; Elstree--Boreham Wood, England, United Kingdom; Elstree--Boreham Wood, England, Great Britain; Herts--Borehamwood, England, United Kingdom; Iver Heath, England, Great Britain; Iver Heath, England, United Kingdom; London, England, United Kingdom
Based on the novel A Clockwork Orange by Anthony Burgess (London, 1962).
Electronic Music comp and realised by
Intro Aired:
Oct 2015
Los Angeles and New York openings: 19 Dec 1971
Hawks Films Limited; Polaris Productions, Inc.
England, United Kingdom; Elstree--Boreham Wood, England, United Kingdom; Elstree--Boreham Wood, England, Great Britain; Herts--Borehamwood, England, United Kingdom; Iver Heath, England, Great Britain; Iver Heath, England, United Kingdom; London, England, United Kingdom
Based on the novel A Clockwork Orange by Anthony Burgess (London, 1962).
The glue holding together the fragments of Anthony Burgess' peripatetic life might well have been contradiction. Born in 1917, only son of a music hall actress and her pianist husband, John Burgess Wilson's family was halved with the deaths of his mother and sister from influenza in 1918, and he was raised by his father and stepmother in rooms above a Manchester pub. Iconoclastic and insubordinate by nature, he nonetheless rose through the ranks of the British military to the rank of sergeant-major and, after the war, helped demobilized soldiers adapt to the Labour Party's brand of British socialism, though he had no use for it. A conservative and monarchist, he would spend most his life away from Britain, traveling the world and writing book after book in quick succession because he thought (due to the misdiagnosis of a malignant brain tumor) that he was dying. His most famous and controversial novel, a dystopian vision of the United Kingdom in the not-so-distant-future, was the basis for Stanley Kubrick's no-less-controversial film A Clockwork Orange (1971)-a highly-praised and widely-condemned adaptation that would inspired Anthony Burgess (one of several names he would sign to over sixty volumes of fiction, biography, history and literary criticism, poetry, stage plays, screenplays, teleplays and translations) to proclaim that he wished he had never written the book in the first place.
The inspiration for Burgess' A Clockwork Orange had occurred during his military service during the Second World War. Stationed in Gibraltar with the Army Educational Corps, Burgess learned that his wife, Llewela Isherwood Jones, had been raped during a London blackout by deserting American GIs-an attack that cost the couple their unborn child. Burgess' later world travels (in particular to the Soviet Union) helped to add texture to the novel he would publish in 1962 as A Clockwork Orange, which took George Orwell's 1984 as a jumping off point to wax fearfully about the future of human life under the thumb of bureaucratic totalitarianism. Dealing in part with the rise of juvenile delinquency (a going concern on both sides of the Atlantic), the book's linguistic inventiveness and superficially uncritical depiction of criminality threw up red flags for British censors, one of whom-at the suggestion of a film adaptation being floated by screenwriters Terry Southern and Michael Cooper-returned the spec screenplay unopened with the note, "I know the book and there's no point in reading this script because it involves youthful defiance of authority and we're not doing that." Burgess himself attempted an adaptation as a vehicle for Mick Jagger and the Rolling Stones (to play the book's predatory gang of young "droogs") that was determined by all involved to be unfilmable.
Initially disinterested in A Clockwork Orange, Stanley Kubrick had a change of heart post-2001: A Space Odyssey (1968), when he began to see the possibilities in the global demographic shift towards youth-oriented cinema that followed the release of Easy Rider (1969) and the rise of the "New Hollywood." To find a backer for his adaptation, Kubrick went from studio to studio, exciting little interest. (Kubrick even approached, to no effect, Francis Ford Coppola, who had set up American Zoetrope in the San Francisco Bay area as an alternative to the Hollywood studio system.) Funding came at last through Ray Stark and Eliot Hyman's Seven Arts Productions, which had backed his Lolita (1962) in partnership with MGM, but which had just absorbed the ailing Warner Bros. (Before A Clockwork Orange began filming, Warners Bros.-Seven Arts was bought by the Kinney National Company, a firm whose focus drifted over the years from mortuaries to the parking lots, and who changed the name of their acquisition back to Warner Bros.) Among the actors in consideration to play Burgess' sociopathic antihero, Alex, were Tim Curry, Jeremy Irons and Malcolm McDowell. McDowell got the role but the three actors found themselves in competition many years later to voice the villain Scar in Disney's animated The Lion King (1994)-a job that went to Irons.
Cast on the strength of his star performance in Lindsay Anderson's equally antiutopian If... (1968), the 27 year-old McDowell would bring considerable innovation to the character of the teenaged Alex, using his own cricket whites (albeit with the jockstrap worn on the outside of the trousers-a Kubrick touch) as the template for the droog white-on-white uniform and making such a case for the use of the song "Singin' in the Rain" to particularize an instance of grotesque sexual violence that Kubrick was inspired to pay $10,000 for the rights to use the song. (Many years later, McDowell felt the wrath of the song's most celebrated interpreter, Gene Kelly, who turned away from him during a Hollywood gathering in disgust at what the film had done to the memory of the beloved Arthur Freed-Nacio Herb Brown composition.) Kubrick's notorious reliance on multiple takes took its toll on many of the cast, with McDowell suffering a scratched retina during the "Ludovico Treatment" setpiece, actress Adrienne Corri being made to endure multiple takes of a brutal rape scene, and Aubrey Morris ordered by Kubrick to spit so many times in McDowell's face that he ran out of saliva - compelling Steven Berkoff (later Eddie Murphy's urbane antagonist in Beverly Hills Cop) to realize the effect for the close-up.
Shot by John Alcott (in his first of three collaborations with Kubrick) on largely existing locations in and around metropolitan London, but dressed by production designer John Barry (who would bring distinction to both George Lucas' Star Wars and Richard Donner's Superman: The Movie) in an evocative (and at times provocative) style that revealed the present in the future, the film would become, upon its theatrical release in December 1971, an instant cause célebrè. It was a critical darling that grossed multiple returns on its $2.2 million budget and a magnet for outrage from those who discerned an invitation to anarchy and a defense of Fascism. (Reaction to the film was less complicated in the United States, where it grossed $26 million and earned Oscar nominations for Best Picture, Best Director and Best Writing Based on Material from Another Medium). Though A Clockwork Orange was never officially banned in the United Kingdom, Kubrick was later motivated to have it pulled from exhibition there due to death threats he had received as its adaptor and director, and to negative publicity related to alleged copycat crimes inspired by the film. Consequently, A Clockwork Orange was all but impossible to see in Great Britain until after Kubrick's death in 1999.
Though he had enjoyed a good early relationship with Kubrick (the two bonded on the subject of Napoleon Bonaparte, about whom Burgess was planning a book and Kubrick a film), Burgess, a lapsed but respectful Roman Catholic, grew weary of being put in the position of having to defend Kubrick's vision instead of his own-which was rooted in an oblique but sincere take on Christian forgiveness. "The book I am best known for, or only known for, is a novel I am prepared to repudiate," Burgess wrote in later years. "Written a quarter of a century ago, a jeu d'esprit knocked off for money in three weeks, it became known as the raw material for a film which seemed to glorify sex and violence. The film made it easy for readers of the book to misunderstand what it was about, and the misunderstanding will pursue me until I die." Misdiagnosed with a cancerous brain tumor and given a grim prognosis in 1961, Burgess had written A Clockwork Orange and four other books in quick succession, with the expectation that their combined sales would support the wife he had prepared to leave a widow. As fate would have it, Llewela Isherwood Jones predeceased Burgess in 1968, succumbing to cirrhosis of the liver secondary to physical and psychological trauma related to her wartime rape. Anthony Burgess died of lung cancer in 1993.
By Richard Harland Smith
Sources:
Stanley Kubrick: A Biography by John Baxter (Basic Books, 1997)
Stanley Kubrick: Interviews, edited by Gene D. Phillips (University Press of Mississippi, 2001)
Conversations with Anthony Burgess, edited by Earl G. Ingersoll and Mary C. Ingersoll (University Press of Mississippi, 2008)
Anthony Burgess: A Biography by Roger Lewis (Macmillan, 2014)
©2022 Turner Classic Movies, Inc. All Rights Reserved.
©2022 Turner Classic Movies, Inc. All Rights Reserved.
By using this site, you agree to our updated Privacy Policy and our Terms of Use
Sometime in the not-to-distant future, gangs of teenage thugs roam rubble-strewn streets, terrorizing citizens who sequester themselves behind locked doors. Alex, the leader of one of the gangs, and his "droogs," Pete, Georgie and Dim, distinguish themselves by wearing all-white, cod pieces, bowler hats and walking canes as the spend their nights committing rapes, muggings and beatings for entertainment. One night, after stopping at the Korova Milk Bar for the house specialty, drug-laced milk that induces "ultra violence," the group kicks an elderly tramp mercilessly. Finding rival gang leader Billyboy and his hoodlums raping a woman nearby, Alex and his droogs take a moment to enjoy the scene then use chairs, broken bottles and knives to pummel the other gang unconscious. The gang speeds off in their Durango 95 sports car playing a game called "hogs of the road," which entails forcing other drivers off the road. Spotting a wealthy residence displaying the sign "HOME," the gang gains admittance by claiming that they need to use the phone to report an accident. Once inside, Alex beats and kicks the home's owner, writer Mr. Frank Alexander, while mimicking a soft shoe dance routine and singing a musical number. After the droogs shove balls into the mouths of Alexander and his wife and wrap their heads in tape, Alex rapes Mrs. Alexander as Mr. Alexander watches helplessly. Later, Alex returns to municipal flatblock 18A, a disheveled modern apartment building where he lives with his cowardly mum and dad. After stashing stolen money and watches, Alex listens to his favorite composer, Beethoven, plays with his pet snake and dream
Kim Kardashians Nude Photos
Liboggirls
Mini Skirt Ass