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This site does not promote prostitution, human trafficking or any type of illegal sex work, nor is any content within this site an offer for prostitution or illegal sex work. Alex then rapes Alexander's wife while singing "Singin' in the Rain". The next day, while truant from school, Alex is approached by his probation officer, PR Deltoid, who is aware of Alex's activities and cautions him.
Alex's droogs express discontent with petty crime and want more equality and high-yield thefts, but Alex asserts his authority by attacking them. Later, Alex invades the home of a wealthy "cat-lady" and bludgeons her with a phallic sculpture while his droogs remain outside.
On hearing sirens, Alex tries to flee but Dim smashes a bottle in his face, stunning him and leaving him to be arrested. With Alex in custody, Deltoid gloats that the cat-lady died, making Alex a murderer. He is sentenced to fourteen years in prison. Two years into the sentence, Alex eagerly takes up an offer to be a test subject for the Minister of the Interior's new Ludovico technique, an experimental aversion therapy for rehabilitating criminals within two weeks. Alex is strapped to a chair, his eyes are clamped open and he is injected with drugs.
He is then forced to watch films of sex and violence, some of which are accompanied by the music of his favourite composer, Ludwig van Beethoven. Alex becomes nauseated by the films and, fearing the technique will make him sick upon hearing Beethoven, begs for an end to the treatment. Two weeks later, the Minister demonstrates Alex's rehabilitation to a gathering of officials.
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Alex is unable to fight back against an actor who taunts and attacks him and becomes ill wanting sex with a topless woman. The prison chaplain complains that Alex has been robbed of his free will; however, the Minister asserts that the Ludovico technique will cut crime and alleviate crowding in prisons.
Alex is let out as a free man, only to find that the police have sold his possessions as compensation to his victims and his parents have let out his room. Alex encounters an elderly vagrant whom he attacked years earlier, and the vagrant and his friends attack him. Alex is saved by two policemen but is shocked to find they are his former droogs Dim and Georgie. They drive him to the countryside, beat him up, and nearly drown him before abandoning him. Alex barely makes it to the doorstep of a nearby home before collapsing.
Alex wakes up to find himself in the home of Mr Alexander, where he is being cared for by Alexander's manservant, Julian. Alexander does not recognise Alex from the previous attack but knows of Alex and the Ludovico technique from the newspapers. He sees Alex as a political weapon and prepares to present him to his colleagues. While bathing, Alex breaks into "Singin' in the Rain", causing Alexander to realise that Alex was the person who assaulted his wife and him. With help from his colleagues, Alexander drugs Alex and locks him in an upstairs bedroom.
He then plays Beethoven's Ninth Symphony loudly from the floor below. Unable to withstand the sickening pain, Alex attempts suicide by throwing himself out the window. Alex wakes up in a hospital with broken bones. While being given a series of psychological tests, he finds that he no longer has aversions to violence and sex. The Minister arrives and apologises to Alex.
He offers to take care of Alex and get him a job in return for his co-operation with his election campaign and public relations counter offensive. As a sign of good will, the Minister brings in a stereo system playing Beethoven's Ninth. Alex then contemplates violence and has vivid thoughts of having sex with a woman in front of an approving crowd, and thinks to himself, "I was cured, all right! The film's central moral question as in many of Burgess's novels is the definition of "goodness" and whether it makes sense to use aversion therapy to stop immoral behaviour.
A social satire dealing with the question of whether behavioural psychology and psychological conditioning are dangerous new weapons for a totalitarian government to use to impose vast controls on its citizens and turn them into little more than robots. Similarly, on the film production's call sheet cited at greater length above , Kubrick wrote:.
It is a story of the dubious redemption of a teenage delinquent by condition-reflex therapy. It is, at the same time, a running lecture on free-will.
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After aversion therapy, Alex behaves like a good member of society, though not through choice. His goodness is involuntary; he has become the titular clockwork orange—organic on the outside, mechanical on the inside. After Alex has undergone the Ludovico technique, the chaplain criticises his new attitude as false, arguing that true goodness must come from within. This leads to the theme of abusing liberties—personal, governmental, civil—by Alex, with two conflicting political forces, the Government and the Dissidents, both manipulating Alex purely for their own political ends.
Mr Alexander fears the new government; in a telephone conversation, he says:. Recruiting brutal young roughs into the police; proposing debilitating and will-sapping techniques of conditioning. Oh, we've seen it all before in other countries; the thin end of the wedge! Before we know where we are, we shall have the full apparatus of totalitarianism. On the other side, the Minister of the Interior the Government jails Mr Alexander the Dissident Intellectual on the excuse of his endangering Alex the People , rather than the government's totalitarian regime described by Mr Alexander.
It is unclear whether or not he has been harmed; however, the Minister tells Alex that the writer has been denied the ability to write and produce "subversive" material that is critical of the incumbent government and meant to provoke political unrest.
Another target of criticism is the behaviourism or "behavioural psychology" propounded by psychologists John B. Watson and B. Burgess disapproved of behaviourism, calling Skinner's book Beyond Freedom and Dignity "one of the most dangerous books ever written". Although behaviourism's limitations were conceded by its principal founder, Watson, Skinner argued that behaviour modification —specifically, operant conditioning learned behaviours via systematic reward-and-punishment techniques rather than the "classical" Watsonian conditioning —is the key to an ideal society.
The film's Ludovico technique is widely perceived as a parody of aversion therapy , which is a form of classical conditioning. Author Paul Duncan said of Alex: "Alex is the narrator so we see everything from his point of view, including his mental images. The implication is that all of the images, both real and imagined, are part of Alex's fantasies". Alex becomes "civilised" after receiving his Ludovico "cure" and the sickness in the aftermath Stern considered to be the "neurosis imposed by society".
He is the very personification of evil. On the other hand, he has winning qualities: his total candour, his wit, his intelligence and his energy; these are attractive qualities and ones, which I might add, which he shares with Richard III ". McDowell was chosen for the role of Alex after Kubrick saw him in the film if He also helped Kubrick on the uniform of Alex's gang, when he showed Kubrick the cricket whites he had. Kubrick asked him to put the box jockstrap not under but on top of the costume. During the filming of the Ludovico technique scene, McDowell scratched a cornea, [15] and was temporarily blinded.
The doctor standing next to him in the scene, dropping saline solution into Alex's forced-open eyes, was a real physician present to prevent the actor's eyes from drying. McDowell also cracked some ribs filming the humiliation stage show. This effect was achieved by dropping a Newman-Sinclair clockwork camera in a box, lens-first, from the third storey of the Corus Hotel.
To Kubrick's surprise, the camera survived six takes. On 24 February , the last day of shooting, Progress Report No. The cinematic adaptation of A Clockwork Orange was not initially planned. Screenplay writer Terry Southern gave Kubrick a copy of the novel, but, as he was developing a Napoleon Bonaparte -related project, Kubrick put it aside.
Kubrick's wife, in an interview, stated she then gave him the novel after having read it. It had an immediate impact. Of his enthusiasm for it, Kubrick said, "I was excited by everything about it: the plot, the ideas, the characters, and, of course, the language. The story functions, of course, on several levels: political, sociological, philosophical, and, what's most important, on a dreamlike psychological-symbolic level.
Burgess had mixed feelings about the film adaptation of his novel, publicly saying he loved Malcolm McDowell and Michael Bates , and the use of music; he praised it as "brilliant", even so brilliant that it might be dangerous. Despite this enthusiasm, he was concerned that it lacked the novel's redemptive final chapter , an absence he blamed upon his American publisher and not Kubrick. All US editions of the novel prior to omitted the final chapter. Kubrick himself called the missing chapter of the book "an extra chapter" and claimed that he had not read the original version until he had virtually finished the screenplay, and that he had never given serious consideration to using it.
Burgess's novel Napoleon Symphony was dedicated to Kubrick. Their relationship soured when Kubrick left Burgess to defend the film from accusations of glorifying violence. A lapsed Catholic , Burgess tried many times to explain the Christian moral points of the story to outraged Christian organisations and to defend it against newspaper accusations that it supported fascist dogma.
He also went to receive awards given to Kubrick on his behalf. Despite the benefits Burgess made from the film, he was in no way involved in the production of the book's adaptation. Kubrick was a perfectionist who researched meticulously, with thousands of photographs taken of potential locations, as well as many scene takes; however, per Malcolm McDowell, he usually "got it right" early on, so there were few takes. No matter what it is—even if it's a question of buying a shampoo it goes through him.
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He just likes total control. Technically, to achieve and convey the fantastic, dream-like quality of the story, he filmed with extreme wide-angle lenses [22] such as the Kinoptik Tegea 9. The society depicted in the film was perceived by some as Communist as Michel Ciment pointed out in an interview with Kubrick due to its slight ties to Russian culture. The teenage slang has a heavily Russian influence, as in the novel; Burgess explains the slang as being, in part, intended to draw a reader into the world of the book's characters and to prevent the book from becoming outdated.
There is some evidence to suggest that the society is a socialist one, or perhaps a society evolving from a failed socialism into a fully authoritarian society. In the novel, streets have paintings of working men in the style of Russian socialist art, and in the film, there is a mural of socialist artwork with obscenities drawn on it.
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Later in the film, when the new right-wing government takes power, the atmosphere is certainly more authoritarian than the anarchist air of the beginning. Kubrick's response to Ciment's question remained ambiguous as to exactly what kind of society it is.
Kubrick asserted that the film held comparisons between both the left and right end of the political spectrum and that there is little difference between the two. The writer, Patrick Magee, is a lunatic of the Left They differ only in their dogma.