A CLOCKWORK ORANGE (Stanley Kubrick, 1971, UK) “Oh, bliss…bliss and heaven. Oh, it was gorgeousness and gorgeosity made flesh. It was like a bird of rarest spun heaven metal, or like a silvery wine flowing in a space ship, gravity all nonsense now. As I slooshied I knew such lovely pictures.” This ultra-violent and highly stylized juvenile delinquent character study is both a punch in the gut and a beautifully written poem: it’s like getting pummeled by E.E. Cummings! Kubrick created an existential masterpiece as he focuses solely on Alex (your humble narrator) to explore the important philosophical theme of free-will: when a human being ceases to have the ability to choose, is s/he still a human being? Alex is not concerned with these highbrow questions/answers; he just wants to live his egocentric pathological life and “pluck motorcars from trees and take pretty polly when I want it.” Kubrick ended this film on the books 20th chapter thus creating a violent Alex DeLarge who seemingly reverts back to the punk of the films first two Acts. However, Anthony Burgess wrote a 21st chapter whereas Alex grows tired of his violent life and actually decides to settle down a bit: he’s growing up! Kubrick’s future-retro visual style is unforgettable and Malcolm McDowell was born for this role (which he drew upon once again for Lindsey Anderson’s OH, LUCKY MAN!). You will never hear SINGING IN THE RAIN the same way ever again. (A+)
