Kubrick's Masterpiece is a Genuinely Unique, Sensational, and Brilliant Work of Art

Rating: 10/10 (2 June 2006)

What I personally admire most about Stanley Kubrick, and about his work in his master opus A Clockwork Orange especially, is the extent to which the film maker completely disregards the cliché, invariable Hollywood motifs that are present in and ruin so many potentially enjoyable films: there is no obligatory Hollywood love story in this film; there is positively no regard for normal Hollywood decency standards, especially of the time; there is no effort made to minimalize the esoteric language used by Alex and his droogs, despite the fact that only an individual with a moderate grasp on Russian could understand the nature of the speech; and there are, as far as I have noticed, no concessions made to the mainstream, whatsoever. Kubrick relates Anthony Burgess's story in a manner arguably considerably more effective, if not just completely better, than that of the novel. Set to an absolutely glorious soundtrack, featuring Rossini, Elgar, Beethoven, and other great giants of classical music; featuring fight scenes that are so ingeniously choreographed as to be amusing as well as visually stimulating; featuring the signature camera work of Kubrick himself; featuring 'futuristic' art and other eye candy, Clockwork Orange in film form is Burgess's vision brought to life. To glorious, brilliant life. The story of the film is unique in that it combines relative simplicity and sheer genius. As the film focuses on the escapades on the young Alexander De Large (a play on words from a scene in the book that Burgess fans will remember smilingly, as Alex refers to himself as 'The Large'; no last name is actually ever given in the book) and his fortunes, the audience is able to observe in one character, many characters. First there is the revel-rousing, obviously clinically insane Alex, the leader of a gang of vicious young criminals; then, there is the scheming institutionalized Alex, who wants nothing more than to get out of prison; then there is the Alex who is a puppet of society after his treatment; and then there is Alex the victim, the treatment having gone terribly wrong. And, in the end, there is the same old Alex, the criminal, indicated subtly so to the audience in the triumphant final scene of the film when he utters a pair of lines identical to those he had spoken earlier in the film. In the end, Kubrick's Clockwork Orange is a masterpiece. It is a psychological analysis, and it is social satire; it is a showcase for beautiful music and beautiful language; it is an amusing spectacle of dark humour and sly jocularity; is a bizarre, chilling dystopian tale; and it is, very possibly, the most enjoyable film ever produced. And this can largely be contributed to Kubrick's disregard for the Hollywood mainstream. This film is as good and important to people as it is for films, as well. If you are human, and if you enjoy a good film, then Clockwork Orange will suit you just fine. Even if you've fallen desperately dependent upon the sort of mainstream nonsense that Hollywood pumps out today. Indeed, if that is your situation, you will find Kubrick's Clockwork Orange a breath of fresh air, and you will find yourself desperately desiring more films like it. Sadly, there are so few. Wnjoy this film, then, for what it's worth: a great film for the sake of being a great film. And it is truly that, if nothing else. A great film.