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A Clockwork Orange
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This article is about the novel. For the film, see A Clockwork Orange (film). For other uses, see A Clockwork Orange (disambiguation).
A Clockwork Orange
Clockwork orange.jpg
Dust jacket from the first edition

Author
Anthony Burgess
Country
United Kingdom
Language
English/Nadsat
Genre
Science fiction, Novella, Satire, Dystopian fiction
Published
1962 (William Heinemann, UK)
Media type
Print (hardback & paperback) & audio book (cassette, CD)
Pages
192 pages (hardback edition) &
 176 pages (paperback edition)
ISBN
0-434-09800-0
OCLC
4205836
A Clockwork Orange is a dystopian novella by Anthony Burgess published in 1962. Set in a near future English society that has a subculture of extreme youth violence, the novella has a teenage protagonist, Alex, who narrates his violent exploits and his experiences with state authorities intent on reforming him.[1] When the state undertakes to reform Alex—to "redeem" him—the novella asks, "At what cost?". The book is partially written in a Russian-influenced argot called "Nadsat". According to Burgess it was a jeu d'esprit written in just three weeks.[2]
In 2005, A Clockwork Orange was included on Time magazine's list of the 100 best English-language novels written since 1923,[3] and it was named by Modern Library and its readers as one of the 100 best English-language novels of the 20th century.[4] The original manuscript of the book has been located at McMaster University in Hamilton, Ontario, Canada since the institution purchased the documents in 1971.[5]


Contents  [hide]
1 Plot summary 1.1 Part 1: Alex's world
1.2 Part 2: The Ludovico Technique
1.3 Part 3: After prison
2 Omission of the final chapter
3 Characters
4 Analysis 4.1 Background
4.2 Title
4.3 Point of view
4.4 Use of slang
4.5 Banning and censorship history in the US
4.6 Writer's dismissal
5 Awards and nominations and rankings
6 Adaptations
7 Release details
8 See also
9 References
10 Further reading
11 External links

Plot summary[edit]
Part 1: Alex's world[edit]
Alex, a teenager living in near-future dystopian England, leads his gang on a night of opportunistic, random "ultra-violence". Alex's friends ("droogs" in the novel's Anglo-Russian slang, 'Nadsat') are: Dim, a slow-witted bruiser who is the gang's muscle; Georgie, an ambitious second-in-command; and Pete, who mostly plays along as the droogs indulge their taste for ultra-violence. Characterized as a sociopath and a hardened juvenile delinquent, Alex also displays intelligence, quick wit, and a predilection for classical music; he is particularly fond of Beethoven, referred to as "Lovely Ludwig Van".
The novella begins with the droogs sitting in their favorite hangout (the Korova Milk Bar), drinking "milk-plus", a drink consisting of milk, prodded with the customer's choice of certain drugs, including "vellocet", "synthemesc", or "drencrom" (which is what Alex and his droogs were drinking, according to Alex's own first-person narration). This drug, referred to as "knives", would "sharpen you up", as it did for Alex, in preparation of the night's mayhem. They assault a scholar walking home from the public library, rob a store, leaving the owner and his wife bloodied and unconscious, stomp a panhandling derelict, then scuffle with a rival gang. Joyriding through the countryside in a stolen car, they break into an isolated cottage and maul the young couple living there, beating the husband and raping his wife. In a metafictional touch, the husband is a writer working on a manuscript called "A Clockwork Orange," and Alex contemptuously reads out a paragraph that states the novel's main theme before shredding the manuscript. Back at the milk bar, Alex strikes Dim for his crude response to a woman's singing of an operatic passage, and strains within the gang become apparent. At home in his dreary flat, Alex plays classical music at top volume while fantasizing about more orgiastic violence.
Alex skips school the next day. Following an unexpected visit from P. R. Deltoid, his "post-corrective advisor," Alex meets a pair of ten-year-old girls and takes them back to his parents' flat, where he serves them scotch and soda, injects himself with hard drugs, and then rapes them. That evening, Alex finds his droogs in a mutinous mood. Georgie challenges Alex for leadership of the gang, demanding that they pull a "man-sized" job. Alex quells the rebellion by slashing Dim's hand and fighting with Georgie, then in a show of generosity takes them to a bar, where Alex insists on following through on Georgie's idea to burgle the home of a wealthy old woman. Alex breaks in and knocks the woman unconscious, but when he opens the door to let the others in, Dim strikes him in payback for the earlier fight. The gang abandons Alex on the front step to be arrested by the police; while in their custody, he learns that the woman has died from her injuries.
Part 2: The Ludovico Technique[edit]
Alex is convicted of murder and sentenced to 14 years in prison. Two years into his sentence, he has obtained a job in one of the prison chapels playing religious music on the stereo to accompany the Sunday religious services. The chaplain mistakes Alex's Bible studies for stirrings of faith (Alex is actually reading Scripture for the violent passages). After Alex's fellow cellmates blame him for beating a troublesome cellmate to death, he is chosen to undergo an experimental behaviour-modification treatment called the Ludovico Technique in exchange for having the remainder of his sentence commuted. The technique is a form of aversion therapy in which Alex receives an injection that makes him feel sick while watching graphically violent films, eventually conditioning him to suffer crippling bouts of nausea at the mere thought of violence. As an unintended consequence, the soundtrack to one of the films, the final movement of Beethoven's Ninth Symphony, renders Alex unable to enjoy his beloved classical music as before.
The effectiveness of the technique is demonstrated to a group of VIPs, who watch as Alex collapses before a walloping bully, and abases himself before a scantily-clad young woman whose presence has aroused his predatory sexual inclinations. Although the prison chaplain accuses the state of stripping Alex of free will, the government officials on the scene are pleased with the results and Alex is released from prison.
Part 3: After prison[edit]
Since his parents are now renting his room to a lodger, Alex wanders the streets homeless. He enters a public library where he hopes to learn a painless way to commit suicide. There, he accidentally encounters the old scholar he assaulted earlier in the book, who, keen on revenge, beats Alex with the help of his friends. The policemen who come to Alex's rescue turn out to be none other than Dim and former gang rival Billyboy. The two policemen take Alex outside of town and beat him up. Dazed and bloodied, Alex collapses at the door of an isolated cottage, realizing too late that it is the house he and his droogs invaded in the first part of the story. Because the gang wore masks during the assault, the writer does not recognize Alex. The writer, whose name is revealed as F. Alexander, shelters Alex and questions him about the conditioning. During this sequence, it is revealed that Mrs. Alexander died of injuries inflicted during the gang-rape, while her husband has decided to continue living "where her fragrant memory persists" despite the horrid memories. Alex reveals in his description that he has been conditioned to feel intolerable deathly nausea on hearing certain classical music. Alexander, a critic of the government, intends to use Alex's therapy as a symbol of state brutality and thereby prevent the incumbent government from being re-elected, but a careless Alex soon inadvertently reveals that he was the ringleader during the night two years ago. Frightened for his own safety, Alex blurts out a confession to the writer's radical associates after they remove him from F. Alexander's home. Instead of protecting him, however, they imprison Alex in a dreary flat not far from his parents' residence. They pretend to leave, and then while he is sleeping in a locked bedroom subject him to a relentless barrage of classical music, prompting him to attempt suicide by leaping from a high window.
Alex wakes up in a hospital, where he is courted by government officials anxious to counter the bad publicity created by his suicide attempt. With Alexander placed in a mental institution, Alex is offered a well-paying job if he agrees to side with the government. As photographers snap pictures, Alex daydreams of orgiastic violence and reflects upon the news that his Ludovico conditioning has been reversed as part of his recovery: "I was cured, all right".
In the final chapter, Alex finds himself half-heartedly preparing for yet another night of crime with a new trio of droogs. After a chance encounter with Pete, who has reformed and married, Alex finds himself taking less and less pleasure in acts of senseless violence. He begins contemplating giving up crime himself to become a productive member of society and start a family of his own, while reflecting on the notion that his own children will be just as destructive—if not more so—than he himself.
Omission of the final chapter[edit]
The book has three parts, each with seven chapters. Burgess has stated that the total of 21 chapters was an intentional nod to the age of 21 being recognised as a milestone in human maturation. The 21st chapter was omitted from the editions published in the United States prior to 1986.[6] In the introduction to the updated American text (these newer editions include the missing 21st chapter), Burgess explains that when he first brought the book to an American publisher, he was told that U.S. audiences would never go for the final chapter, in which Alex sees the error of his ways, decides he has lost all energy for and thrill from violence and resolves to turn his life around (a slow-ripening but classic moment of metanoia—the moment at which one's protagonist realises that everything he thought he knew was wrong).
At the American publisher's insistence, Burgess allowed their editors to cut the redeeming final chapter from the U.S. version, so that the tale would end on a darker note, with Alex succumbing to his violent, reckless nature—an ending which the publisher insisted would be 'more realistic' and appealing to a U.S. audience. The film adaptation, directed by Stanley Kubrick, is based on the American edition of the book (which Burgess considered to be "badly flawed"). Kubrick called Chapter 21 "an extra chapter" and claimed[7] 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. In Kubrick's opinion, the final chapter was unconvincing and inconsistent with the book.
Characters[edit]
##Alex: The novel's anti-hero and leader among his droogs. He often refers to himself as "Your Humble Narrator". (Having coaxed two ten-year-old girls into his bedroom, Alex refers to himself as "Alexander the Large" while raping them; this was later the basis for Alex's claimed surname DeLarge in the 1971 film.)
##George or Georgie: Effectively Alex's greedy second-in-command. Georgie attempts to undermine Alex's status as leader of the gang. He is later killed during a botched robbery, while Alex is in prison.
##Pete: The most rational and least violent member of the gang. He is the only one who doesn't take particular sides when the droogs fight among themselves. He later meets and marries a girl, renouncing his old ways and even losing his former (Nadsat) speech patterns. A chance encounter with Pete in the final chapter influences Alex to realize that he grows bored with violence and recognises that human energy is better expended on creation than destruction.[8]
##Dim: An idiotic and thoroughly gormless member of the gang, persistently condescended to by Alex, but respected to some extent by his droogs for his formidable fighting abilities, his weapon of choice being a length of bike chain. He later becomes a police officer, exacting his revenge on Alex for the abuse he once suffered under his command.
##P. R. Deltoid: A criminal rehabilitation social worker assigned the task of keeping Alex on the straight and narrow. He seemingly has no clue about dealing with young people, and is devoid of empathy or understanding for his troublesome charge. Indeed, when Alex is arrested for murdering an old woman, and then ferociously beaten by several police officers, Deltoid simply spits on him.
##The prison chaplain: The character who first questions whether it's moral to turn a violent person into a behavioural automaton who can make no choice in such matters. This is the only character who is truly concerned about Alex's welfare; he is not taken seriously by Alex, though. (He is nicknamed by Alex "prison charlie" or "chaplin", a pun on Charlie Chaplin.)
##Billyboy: A rival of Alex's. Early on in the story, Alex and his droogs battle Billyboy and his droogs, which ends abruptly when the police arrive. Later, after Alex is released from prison, Billyboy (along with Dim, who like Billyboy has become a police officer) rescue Alex from a mob, then subsequently beat him, in a location out of town.
##The prison governor: The man who decides to let Alex "choose" to be the first reformed by the Ludovico technique.
##The Minister of the Interior, or the Inferior, as Alex refers to him. The government high-official who is determined that Ludovico's technique will be used to cut recidivism.
##Dr. Branom: Brodsky's colleague and co-developer of the Ludovico technique. He appears friendly and almost paternal towards Alex at first, before forcing him into the theatre and what Alex calls the "chair of torture".
##Dr. Brodsky: The scientist and co-developer of the "Ludovico technique". He seems much more passive than Branom, and says considerably less.
##F. Alexander: An author who was in the process of typing his magnum opus A Clockwork Orange, when Alex and his droogs broke into his house, beat him, tore up his work and then brutally gang-raped his wife, which caused her subsequent death. He is left deeply scarred by these events, and when he encounters Alex two years later he uses him as a guinea pig in a sadistic experiment intended to prove the Ludovico technique unsound. He is given name Frank Alexander in the film.
##Cat Woman: An indirectly named woman who blocks Alex's gang's entrance scheme, and threatens to shoot Alex and set her cats on him if he doesn't leave. After Alex breaks into her house, she fights with him, ordering her cats to join the melee, but reprimands Alex for fighting them off. She sustains a fatal blow to the head during the scuffle. She is given the name Miss Weathers in the film.
Analysis[edit]
Background[edit]
A Clockwork Orange was written in Hove, then a senescent seaside town.[9] Burgess had arrived back in Britain after his stint abroad to see that much had changed. A youth culture had grown, including coffee bars, pop music and teenage gangs.[10] England was gripped by fears over juvenile delinquency.[9] Burgess claimed that the novel's inspiration was his first wife Lynne's beating by a gang of drunk American servicemen stationed in England during World War II. She subsequently miscarried.[9][11] In its investigation of free will, the book's target is ostensibly the concept of behaviourism, pioneered by such figures as B. F. Skinner.[12]
Burgess later stated that he wrote the book in three weeks.[9]
Title[edit]
Burgess gave three possible origins for the title:
##He had overheard the phrase "as queer as a clockwork orange" in a London pub in 1945 and assumed it was a Cockney expression.[citation needed] In Clockwork Marmalade, an essay published in the Listener in 1972, he said that he had heard the phrase several times since that occasion. He also explained the title in response to a question from William Everson on the television programme, Camera Three in 1972, "Well, the title has a very different meaning but only to a particular generation of London Cockneys. It's a phrase which I heard many years ago and so fell in love with, I wanted to use it, the title of the book. But the phrase itself I did not make up. The phrase "as queer as a clockwork orange" is good old East London slang and it didn't seem to me necessary to explain it. Now, obviously, I have to give it an extra meaning. I've implied an extra dimension. I've implied the junction of the organic, the lively, the sweet – in other words, life, the orange – and the mechanical, the cold, the disciplined. I've brought them together in this kind of oxymoron, this sour-sweet word."[13][14] Nonetheless, no other record of the expression being used before 1962 has ever appeared.[15] Kingsley Amis notes in his Memoirs (1991) that no trace of it appears in Eric Partridge's Dictionary of Historical Slang.
##His second explanation was that it was a pun on the Malay word orang, meaning "man." The novella contains no other Malay words or links.[15]
##In a prefatory note to A Clockwork Orange: A Play with Music, he wrote that the title was a metaphor for "...an organic entity, full of juice and sweetness and agreeable odour, being turned into a mechanism."[15]
In his essay, "Clockwork Oranges,"[citation needed] Burgess asserts that "this title would be appropriate for a story about the application of Pavlovian or mechanical laws to an organism which, like a fruit, was capable of colour and sweetness." This title alludes to the protagonist's positively conditioned responses to feelings of evil which prevent the exercise of his free will. To induce this conditioning, the protagonist is subjected to a technique in which violent scenes displayed on screen, which he is forced to watch, are systematically paired with negative stimulation in the form of nausea and "feelings of terror" caused by an emetic medicine administered just before the presentation of the films.
Point of view[edit]
A Clockwork Orange is written using a narrative first-person singular perspective of a seemingly biased and unreliable narrator. The protagonist, Alex, never justifies his actions in the narration, giving a sense that he is somewhat sincere; a narrator who, as unlikeable as he may attempt to seem, evokes pity from the reader by telling of his unending suffering, and later through his realisation that the cycle will never end. Alex's perspective is effective in that the way that he describes events is easy to relate to, even if the situations themselves are not.
Use of slang[edit]
Main article: Nadsat
The book, narrated by Alex, contains many words in a slang argot which Burgess invented for the book, called Nadsat. It is a mix of modified Slavic words, rhyming slang, derived Russian (like baboochka), and words invented by Burgess himself. For instance, these terms have the following meanings in Nadsat: droog = friend; korova = cow; gulliver ('golova') = head; malchick or malchickiwick = boy; soomka = sack or bag; Bog = God; khorosho ('horrosho') = good; prestoopnick = criminal; rooka ('rooker') = hand; cal = crap; veck ('chelloveck') = man or guy; litso = face; malenky = little; and so on. Compare Polari.
One of Alex's doctors explains the language to a colleague as "odd bits of old rhyming slang; a bit of gypsy talk, too. But most of the roots are Slav propaganda. Subliminal penetration." Some words are not derived from anything, but merely easy to guess, e.g. 'in-out, in-out' or 'the old in-out' means sexual intercourse. Cutter, however, means 'money,' because 'cutter' rhymes with 'bread-and-butter'; this is rhyming slang, which is intended to be impenetrable to outsiders (especially eavesdropping policemen). Additionally, slang like Appypolly loggy (Apology) seems to derive from school boy slang. This reflects Alex's age of 15.
In the first edition of the book, no key was provided, and the reader was left to interpret the meaning from the context. In his appendix to the restored edition, Burgess explained that the slang would keep the book from seeming dated, and served to muffle "the raw response of pornography" from the acts of violence. Furthermore, in a work of literature where a form of brainwashing plays a role, the narrative itself brainwashes the reader into understanding Nadsat.[citation needed]
The term "ultraviolence," referring to excessive and/or unjustified violence, was coined by Burgess in the book, which includes the phrase "do the ultra-violent." The term's association with aesthetic violence has led to its use in the media.[16][17][18][19]
Banning and censorship history in the US[edit]
In 1976, A Clockwork Orange was removed from an Aurora, Colorado high school because of "objectionable language". A year later in 1977 it was removed from high school classrooms in Westport, Massachusetts over similar concerns with "objectionable" language. In 1982, it was removed from two Anniston, Alabama libraries, later to be reinstated on a restricted basis. Also, in 1973 a bookseller was arrested for selling the novel. Charges were later dropped.[20] However, each of these instances came after the release of Stanley Kubrick's popular 1971 film adaptation of A Clockwork Orange, itself the subject of much controversy.
Writer's dismissal[edit]



 Burgess in 1986
In 1985, Burgess published Flame into Being: The Life and Work of D. H. Lawrence, and while discussing Lady Chatterley's Lover in his biography, Burgess compared that novel's notoriety with A Clockwork Orange: "We all suffer from the popular desire to make the known notorious. The book I am best known for, or only known for, is a novel I am prepared to repudiate: 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. I should not have written the book because of this danger of misinterpretation, and the same may be said of Lawrence and Lady Chatterley's Lover."[21] Burgess also dismissed A Clockwork Orange as "too didactic to be artistic".[22]
Awards and nominations and rankings[edit]
##1983 – Prometheus Award (Preliminary Nominee)
##1999 – Prometheus Award (Nomination)
##2002 – Prometheus Award (Nomination)
##2003 – Prometheus Award (Nomination)
##2006 – Prometheus Award (Nomination)[23]
##2008 – Prometheus Award (Hall of Fame Award)
A Clockwork Orange was chosen by Time magazine as one of the 100 best English-language books from 1923 to 2005.[24]
Adaptations[edit]



Stanley Kubrick film version's theatrical release poster by Bill Gold
The best known adaptation of the novella to other forms is the 1971 film A Clockwork Orange by Stanley Kubrick, starring Malcolm McDowell as Alex.[25]
A 1965 film by Andy Warhol entitled Vinyl was an adaptation of Burgess' novel.
After Kubrick's film was released, Burgess wrote a stage play titled A Clockwork Orange. In it, Dr. Branom defects from the psychiatric clinic when he grasps that the aversion therapy has destroyed Alex's ability to enjoy music. The play restores the novel's original ending.[citation needed]
In 1988, a German adaptation of A Clockwork Orange at the intimate theatre of Bad Godesberg featured a musical score by the German punk rock band Die Toten Hosen which, combined with orchestral clips of Beethoven's Ninth Symphony and "other dirty melodies" (so stated by the subtitle), was released on the album Ein kleines bisschen Horrorschau. The track Hier kommt Alex became one of the band's signature songs.



Vanessa Claire Smith, Sterling Wolfe, Michael Holmes, and Ricky Coates in Brad Mays' multi-media stage production of A Clockwork Orange, 2003, Los Angeles. (photo: Peter Zuehlke)


Vanessa Claire Smith in Brad Mays' multi-media stage production of A Clockwork Orange, 2003, Los Angeles. (photo: Peter Zuehlke)
In February 1990, another musical version was produced at the Barbican Theatre in London by the Royal Shakespeare Company. Titled A Clockwork Orange: 2004, it received mostly negative reviews, with John Peter of The Sunday Times of London calling it "only an intellectual Rocky Horror Show," and John Gross of The Sunday Telegraph calling it "a clockwork lemon." Even Burgess himself, who wrote the script based on his novel, was disappointed. According to The Evening Standard, he called the score, written by Bono and The Edge of the rock group U2, "neo-wallpaper." Burgess had originally worked alongside the director of the production, Ron Daniels, and envisioned a musical score that was entirely classical. Unhappy with the decision to abandon that score, he heavily criticised the band's experimental mix of hip hop, liturgical and gothic music. Lise Hand of The Irish Independent reported The Edge as saying that Burgess' original conception was "a score written by a novelist rather than a songwriter." Calling it "meaningless glitz," Jane Edwardes of 20/20 Magazine said that watching this production was "like being invited to an expensive French Restaurant - and being served with a Big Mac."
In 1994, Chicago's Steppenwolf Theater put on a production of A Clockwork Orange directed by Terry Kinney. The American premiere of novelist Anthony Burgess' own adaptation of his A Clockwork Orange starred K. Todd Freeman as Alex. In 2001, UNI Theatre (Mississauga, Ontario) presented the Canadian premiere of the play under the direction of Terry Costa.[26]
In 2002, Godlight Theatre Company presented the New York Premiere adaptation of A Clockwork Orange at Manhattan Theatre Source. The production went on to play at the SoHo Playhouse (2002), Ensemble Studio Theatre (2004), 59E59 Theaters (2005) and the Edinburgh Festival Fringe (2005). While at Edinburgh, the production received rave reviews from the press while playing to sold-out audiences. The production was directed by Godlight's Artistic Director, Joe Tantalo.
In 2003, Los Angeles director Brad Mays[27] and the ARK Theatre Company[28] staged a multi-media adaptation of A Clockwork Orange,[29][30] which was named "Pick Of The Week" by the LA Weekly and nominated for three of the 2004 LA Weekly Theater Awards: Direction, Revival Production (of a 20th-century work), and Leading Female Performance.[31] Vanessa Claire Smith won Best Actress for her gender-bending portrayal of Alex, the music-loving teenage sociopath.[32] This production utilised three separate video streams outputted to seven onstage video monitors - six 19-inch and one 40-inch. In order to preserve the first-person narrative of the book, a pre-recorded video stream of Alex, "your humble narrator," was projected onto the 40-inch monitor,[33] thereby freeing the onstage character during passages which would have been awkward or impossible to sustain in the breaking of the fourth wall.[34]
Release details[edit]

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 This article's factual accuracy is disputed. Please help to ensure that disputed statements are reliably sourced. See the relevant discussion on the talk page. (May 2013)
##1962, UK, William Heinemann (ISBN ?), December 1962, Hardcover
##1962, US, W. W. Norton & Co Ltd (ISBN ?), 1962, Hardcover
##1963, US, W. W. Norton & Co Ltd (ISBN 0-345-28411-9), 1963, Paperback
##1965, US, Ballantine Books (ISBN 0-345-01708-0), 1965, Paperback
##1969, US, Ballantine Books (ISBN ?), 1969, Paperback
##1971, US, Ballantine Books (ISBN 0-345-02624-1), 1971, Paperback,Movie released
##1972, UK, Lorrimer, (ISBN 0-85647-019-8), 11 September 1972, Hardcover
##1972, UK, Penguin Books Ltd (ISBN 0-14-003219-3), 25 January 1973, Paperback
##1973, US, Caedmon Records, 1973, Vinyl LP (First 4 chapters read by Anthony Burgess)
##1977, US, Ballantine Books (ISBN 0-345-27321-4), 12 September 1977, Paperback
##1979, US, Ballantine Books (ISBN 0-345-31483-2), April 1979, Paperback
##1983, US, Ballantine Books (ISBN 0-345-31483-2), 12 July 1983, Unbound
##1986, US, W. W. Norton & Company (ISBN 0-393-31283-6), November 1986, Paperback (Adds final chapter not previously available in U.S. versions)
##1987, UK, W. W. Norton & Co Ltd (ISBN 0-393-02439-3), July 1987, Hardcover
##1988, US, Ballantine Books (ISBN 0-345-35443-5), March 1988, Paperback
##1995, UK, W. W. Norton & Co Ltd (ISBN 0-393-31283-6), June 1995, Paperback
##1996, UK, Penguin Books Ltd (ISBN 0-14-018882-7), 25 April 1996, Paperback
##1996, UK, HarperAudio (ISBN 0-694-51752-6), September 1996, Audio Cassette
##1997, UK, Heyne Verlag (ISBN 3-453-13079-0), 31 January 1997, Paperback
##1998, UK, Penguin Books Ltd (ISBN 0-14-027409-X), 3 September 1998, Paperback
##1999, UK, Rebound by Sagebrush (ISBN 0-8085-8194-5), October 1999, Library Binding
##2000, UK, Penguin Books Ltd (ISBN 0-14-118260-1), 24 February 2000, Paperback
##2000, UK, Penguin Books Ltd (ISBN 0-14-029105-9), 2 March 2000, Paperback
##2000, UK, Turtleback Books (ISBN 0-606-19472-X), November 2000, Hardback
##2001, UK, Penguin Books Ltd (ISBN 0-14-100855-5), 27 September 2001, Paperback
##2002, UK, Thorndike Press (ISBN 0-7862-4644-8), October 2002, Hardback
##2005, UK, Buccaneer Books (ISBN 1-56849-511-0), 29 January 2005, Library Binding
##2010, Greece, Anubis Publications (ISBN 978-960-306-847-1), 2010, Paperback (Adds final chapter not previously available in Greek versions)
##2012, US, W. W. Norton & Company (ISBN 978-0-393-08913-4) October 22, 2012, Hardback (50th Anniversary Edition), revised text version. Andrew Biswell, PhD, director of the International Burgess Foundation, has taken a close look at the three varying published editions alongside the original typescript to recreate the novel as Anthony Burgess envisioned it.[35]
See also[edit]

Portal icon Novels portal
Portal icon Speculative fiction portal
##Aestheticization of violence
##List of cultural references to A Clockwork Orange
##List of stories set in a future now past
##Nadsat
##Project MKUltra
References[edit]
1.Jump up ^ "Books of The Times". The New York Times. 19 March 1963.
2.Jump up ^ "A Clockwork Orange - The book versus the Film". Retrieved 19 September 2013.
3.Jump up ^ Grossman, Lev; Lacayo, Richard (16 October 2005). "All-Time 100 Novels: The Complete List". Time.
4.Jump up ^ "100 Best Novels". Modern Library. Retrieved 31 October 2012
5.Jump up ^ Humphreys, Adrian (11 November 2012). "A clockwork original: McMaster University bought manuscript of iconic novel for $250". National Post. Retrieved 13 November 2012.
6.Jump up ^ Burgess, Anthony (1986) A Clockwork Orange Resucked in A Clockwork Orange, W. W. Norton & Company, New York.
7.Jump up ^ "The Kubrick Site: Kubrick's comments regarding 'A Clockwork Orange'". Visual-memory.co.uk. Retrieved 2014-01-03.
8.Jump up ^ A Clockwork Orange Resucked. The Floating Library. Retrieved on 2013-10-31.
9.^ Jump up to: a b c d Ahmed, Samira (3 July 2012). A Clockwork Orange - interview with Will Self. (Interview). Nightwaves. BBC.
10.Jump up ^ A Clockwork Orange (Penguin Modern Classics) (Paperback) by Anthony Burgess, Blake Morrison xv
11.Jump up ^ Burgess, A. A Clockwork Orange, Penguin UK, 2011, introduction by Blake Morrison, page 17 : « his first wife, Lynne, was beaten, kicked and robbed in London by a gang of four GI deserters ».
12.Jump up ^ A Clockwork Orange (Paperback) by Anthony Burgess, Will Self
13.Jump up ^ An examination of Kubrick's A Clockwork Orange Camera Three: Creative Arts Television, 2010-08-04. (Video)
14.Jump up ^ Clockwork Orange: A review with William Everson. Retrieved: 2012-03-11.
15.^ Jump up to: a b c Dexter, Gary (2008). Why Not Catch-21?: The Stories Behind the Titles. Frances Lincoln Ltd. pp. 200–203. ISBN 0-7112-2925-2.
16.Jump up ^ AFP (29 October 2007). "Gruesome 'Saw 4' slashes through North American box-office". Archived from the original on 16 January 2008. Retrieved 2008-01-15.
17.Jump up ^ "Q&A With 'Hostel' Director Eli Roth and Quentin Tarantino - New York Magazine". Archived from the original on 9 January 2008. Retrieved 2008-01-15.
18.Jump up ^ "ADV Announces New Gantz Collection, Final Guyver & More: Nov 6 Releases". Archived from the original on 5 February 2008. Retrieved 2008-01-15.
19.Jump up ^ CBS News (30 October 2007). ""Manhunt 2": Most Violent Game Yet?, Critics Say New Video Game Is Too Realistic; Players Must Torture, Kill - CBS News". Archived from the original on 2 January 2008. Retrieved 2008-01-15.
20.Jump up ^ "Banned and/or Challenged Books from the Radcliffe Publishing Course Top 100 Novels of the 20th Century". American Library Association, 29 March 2007. (Accessed 24 April 2012)Document ID: a6b9d0cb-cf04-dcc4-e1b3-acda735f48bd
21.Jump up ^ Flame into Being: The Life and Work of D. H. Lawrence (Heinemann, London 1985) Anthony Burgess, p 205
22.Jump up ^ A Clockwork Orange (Penguin Modern Classics) (Paperback) by Anthony Burgess, Blake Morrison xxii
23.Jump up ^ "Libertarian Futurist Society". Lfs.org. Retrieved 2014-01-03.
24.Jump up ^ "The Complete List | TIME Magazine — ALL-TIME 100 Novels". Time magazine. 16 October 2005. Archived from the original on 19 August 2007. Retrieved 20 August 2007.
25.Jump up ^ Canby, Vincent (20 December 1971). "A Clockwork Orange (1971) 'A Clockwork Orange' Dazzles the Senses and Mind". The New York Times.
26.Jump up ^ "Mirateca Arts". Mirateca.com. Retrieved 2014-01-03.
27.Jump up ^ "Brad Mays". Brad Mays. Retrieved 2014-01-03.
28.Jump up ^ "Ark Theatre". Ark Theatre. Retrieved 2014-01-03.
29.Jump up ^ "Production Photos from ''A Clockwork Orange,'' 2003, ARK Theatre Company, directed by Brad Mays". Bradmays.com. Retrieved 2014-01-03.
30.Jump up ^ Kavner, Lucas (20 July 2011). "'A Clockwork Orange' Songs To Be Performed For First Time In History". Huffingtonpost.com. Retrieved 2011-11-28.
31.Jump up ^ A A A Comments (0) Thursday, Feb 12 2004 (12 February 2004). "LA Weekly Theatre Awards Nominations ''A Clockwork Orange'' - nominations for "Best Revival Production," "Best Leading Female Performance," "Best Direction"". Laweekly.com. Retrieved 2014-01-03.
32.Jump up ^ A A A Comments (0) Thursday, Apr 29 2004 (29 April 2004). "LA Weekly Theatre Awards ''A Clockwork Orange'' - Vanessa Claire Smith wins for "Best Leading Female Performance"". Laweekly.com. Retrieved 2014-01-03.
33.Jump up ^ "Brad Mays (image)". Retrieved 2014-01-03.
34.Jump up ^ "Brad Mays Gallery: A Clockwork Orange". Bradmays.com. Retrieved 2014-01-03.
35.Jump up ^ "A Clockwork Orange | W. W. Norton & Company". Books.wwnorton.com. Retrieved 2014-01-03.
Further reading[edit]
##A Clockwork Orange: A Play With Music. Century Hutchinson Ltd. (1987). An extract is quoted on several web sites: Anthony Burgess from A Clockwork Orange: A play with music (Century Hutchinson Ltd, 1987), anthony burgess on 'a clockwork orange' - page 2 at the Wayback Machine (archived December 15, 2005), A Clockwork Orange - From A Clockwork Orange: A Play With Music
##Burgess, Anthony (1978). Clockwork Oranges. In 1985. London: Hutchinson. ISBN 0-09-136080-3 (extracts quoted here)
##Vidal, Gore (1988). "Why I Am Eight Years Younger Than Anthony Burgess". At Home: Essays, 1982–1988. New York: Random House. p. 411. ISBN 0-394-57020-0.
##Tuck, Donald H. (1974). The Encyclopedia of Science Fiction and Fantasy. Chicago: Advent. p. 72. ISBN 0-911682-20-1.
External links[edit]
 Wikiquote has quotations related to: A Clockwork Orange
 Wikimedia Commons has media related to A Clockwork Orange.
##A Clockwork Orange title listing at the Internet Speculative Fiction Database
##A Clockwork Orange at SparkNotes
##A Clockwork Orange at Literapedia
##A Clockwork Orange (1962) | Last chapter | Anthony Burgess (1917-1993)
Comparisons with the Kubrick film adaptation##Dalrymple, Theodore. "A Prophetic and Violent Masterpiece", City Journal
##Giola, Ted. "A Clockwork Orange by Anthony Burgess" at Conceptual Fiction
##Priestley, Brenton. "Of Clockwork Apples and Oranges: Burgess and Kubrick (2002)"


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A Clockwork Orange
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This article is about the novel. For the film, see A Clockwork Orange (film). For other uses, see A Clockwork Orange (disambiguation).
A Clockwork Orange
Clockwork orange.jpg
Dust jacket from the first edition

Author
Anthony Burgess
Country
United Kingdom
Language
English/Nadsat
Genre
Science fiction, Novella, Satire, Dystopian fiction
Published
1962 (William Heinemann, UK)
Media type
Print (hardback & paperback) & audio book (cassette, CD)
Pages
192 pages (hardback edition) &
 176 pages (paperback edition)
ISBN
0-434-09800-0
OCLC
4205836
A Clockwork Orange is a dystopian novella by Anthony Burgess published in 1962. Set in a near future English society that has a subculture of extreme youth violence, the novella has a teenage protagonist, Alex, who narrates his violent exploits and his experiences with state authorities intent on reforming him.[1] When the state undertakes to reform Alex—to "redeem" him—the novella asks, "At what cost?". The book is partially written in a Russian-influenced argot called "Nadsat". According to Burgess it was a jeu d'esprit written in just three weeks.[2]
In 2005, A Clockwork Orange was included on Time magazine's list of the 100 best English-language novels written since 1923,[3] and it was named by Modern Library and its readers as one of the 100 best English-language novels of the 20th century.[4] The original manuscript of the book has been located at McMaster University in Hamilton, Ontario, Canada since the institution purchased the documents in 1971.[5]


Contents  [hide]
1 Plot summary 1.1 Part 1: Alex's world
1.2 Part 2: The Ludovico Technique
1.3 Part 3: After prison
2 Omission of the final chapter
3 Characters
4 Analysis 4.1 Background
4.2 Title
4.3 Point of view
4.4 Use of slang
4.5 Banning and censorship history in the US
4.6 Writer's dismissal
5 Awards and nominations and rankings
6 Adaptations
7 Release details
8 See also
9 References
10 Further reading
11 External links

Plot summary[edit]
Part 1: Alex's world[edit]
Alex, a teenager living in near-future dystopian England, leads his gang on a night of opportunistic, random "ultra-violence". Alex's friends ("droogs" in the novel's Anglo-Russian slang, 'Nadsat') are: Dim, a slow-witted bruiser who is the gang's muscle; Georgie, an ambitious second-in-command; and Pete, who mostly plays along as the droogs indulge their taste for ultra-violence. Characterized as a sociopath and a hardened juvenile delinquent, Alex also displays intelligence, quick wit, and a predilection for classical music; he is particularly fond of Beethoven, referred to as "Lovely Ludwig Van".
The novella begins with the droogs sitting in their favorite hangout (the Korova Milk Bar), drinking "milk-plus", a drink consisting of milk, prodded with the customer's choice of certain drugs, including "vellocet", "synthemesc", or "drencrom" (which is what Alex and his droogs were drinking, according to Alex's own first-person narration). This drug, referred to as "knives", would "sharpen you up", as it did for Alex, in preparation of the night's mayhem. They assault a scholar walking home from the public library, rob a store, leaving the owner and his wife bloodied and unconscious, stomp a panhandling derelict, then scuffle with a rival gang. Joyriding through the countryside in a stolen car, they break into an isolated cottage and maul the young couple living there, beating the husband and raping his wife. In a metafictional touch, the husband is a writer working on a manuscript called "A Clockwork Orange," and Alex contemptuously reads out a paragraph that states the novel's main theme before shredding the manuscript. Back at the milk bar, Alex strikes Dim for his crude response to a woman's singing of an operatic passage, and strains within the gang become apparent. At home in his dreary flat, Alex plays classical music at top volume while fantasizing about more orgiastic violence.
Alex skips school the next day. Following an unexpected visit from P. R. Deltoid, his "post-corrective advisor," Alex meets a pair of ten-year-old girls and takes them back to his parents' flat, where he serves them scotch and soda, injects himself with hard drugs, and then rapes them. That evening, Alex finds his droogs in a mutinous mood. Georgie challenges Alex for leadership of the gang, demanding that they pull a "man-sized" job. Alex quells the rebellion by slashing Dim's hand and fighting with Georgie, then in a show of generosity takes them to a bar, where Alex insists on following through on Georgie's idea to burgle the home of a wealthy old woman. Alex breaks in and knocks the woman unconscious, but when he opens the door to let the others in, Dim strikes him in payback for the earlier fight. The gang abandons Alex on the front step to be arrested by the police; while in their custody, he learns that the woman has died from her injuries.
Part 2: The Ludovico Technique[edit]
Alex is convicted of murder and sentenced to 14 years in prison. Two years into his sentence, he has obtained a job in one of the prison chapels playing religious music on the stereo to accompany the Sunday religious services. The chaplain mistakes Alex's Bible studies for stirrings of faith (Alex is actually reading Scripture for the violent passages). After Alex's fellow cellmates blame him for beating a troublesome cellmate to death, he is chosen to undergo an experimental behaviour-modification treatment called the Ludovico Technique in exchange for having the remainder of his sentence commuted. The technique is a form of aversion therapy in which Alex receives an injection that makes him feel sick while watching graphically violent films, eventually conditioning him to suffer crippling bouts of nausea at the mere thought of violence. As an unintended consequence, the soundtrack to one of the films, the final movement of Beethoven's Ninth Symphony, renders Alex unable to enjoy his beloved classical music as before.
The effectiveness of the technique is demonstrated to a group of VIPs, who watch as Alex collapses before a walloping bully, and abases himself before a scantily-clad young woman whose presence has aroused his predatory sexual inclinations. Although the prison chaplain accuses the state of stripping Alex of free will, the government officials on the scene are pleased with the results and Alex is released from prison.
Part 3: After prison[edit]
Since his parents are now renting his room to a lodger, Alex wanders the streets homeless. He enters a public library where he hopes to learn a painless way to commit suicide. There, he accidentally encounters the old scholar he assaulted earlier in the book, who, keen on revenge, beats Alex with the help of his friends. The policemen who come to Alex's rescue turn out to be none other than Dim and former gang rival Billyboy. The two policemen take Alex outside of town and beat him up. Dazed and bloodied, Alex collapses at the door of an isolated cottage, realizing too late that it is the house he and his droogs invaded in the first part of the story. Because the gang wore masks during the assault, the writer does not recognize Alex. The writer, whose name is revealed as F. Alexander, shelters Alex and questions him about the conditioning. During this sequence, it is revealed that Mrs. Alexander died of injuries inflicted during the gang-rape, while her husband has decided to continue living "where her fragrant memory persists" despite the horrid memories. Alex reveals in his description that he has been conditioned to feel intolerable deathly nausea on hearing certain classical music. Alexander, a critic of the government, intends to use Alex's therapy as a symbol of state brutality and thereby prevent the incumbent government from being re-elected, but a careless Alex soon inadvertently reveals that he was the ringleader during the night two years ago. Frightened for his own safety, Alex blurts out a confession to the writer's radical associates after they remove him from F. Alexander's home. Instead of protecting him, however, they imprison Alex in a dreary flat not far from his parents' residence. They pretend to leave, and then while he is sleeping in a locked bedroom subject him to a relentless barrage of classical music, prompting him to attempt suicide by leaping from a high window.
Alex wakes up in a hospital, where he is courted by government officials anxious to counter the bad publicity created by his suicide attempt. With Alexander placed in a mental institution, Alex is offered a well-paying job if he agrees to side with the government. As photographers snap pictures, Alex daydreams of orgiastic violence and reflects upon the news that his Ludovico conditioning has been reversed as part of his recovery: "I was cured, all right".
In the final chapter, Alex finds himself half-heartedly preparing for yet another night of crime with a new trio of droogs. After a chance encounter with Pete, who has reformed and married, Alex finds himself taking less and less pleasure in acts of senseless violence. He begins contemplating giving up crime himself to become a productive member of society and start a family of his own, while reflecting on the notion that his own children will be just as destructive—if not more so—than he himself.
Omission of the final chapter[edit]
The book has three parts, each with seven chapters. Burgess has stated that the total of 21 chapters was an intentional nod to the age of 21 being recognised as a milestone in human maturation. The 21st chapter was omitted from the editions published in the United States prior to 1986.[6] In the introduction to the updated American text (these newer editions include the missing 21st chapter), Burgess explains that when he first brought the book to an American publisher, he was told that U.S. audiences would never go for the final chapter, in which Alex sees the error of his ways, decides he has lost all energy for and thrill from violence and resolves to turn his life around (a slow-ripening but classic moment of metanoia—the moment at which one's protagonist realises that everything he thought he knew was wrong).
At the American publisher's insistence, Burgess allowed their editors to cut the redeeming final chapter from the U.S. version, so that the tale would end on a darker note, with Alex succumbing to his violent, reckless nature—an ending which the publisher insisted would be 'more realistic' and appealing to a U.S. audience. The film adaptation, directed by Stanley Kubrick, is based on the American edition of the book (which Burgess considered to be "badly flawed"). Kubrick called Chapter 21 "an extra chapter" and claimed[7] 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. In Kubrick's opinion, the final chapter was unconvincing and inconsistent with the book.
Characters[edit]
##Alex: The novel's anti-hero and leader among his droogs. He often refers to himself as "Your Humble Narrator". (Having coaxed two ten-year-old girls into his bedroom, Alex refers to himself as "Alexander the Large" while raping them; this was later the basis for Alex's claimed surname DeLarge in the 1971 film.)
##George or Georgie: Effectively Alex's greedy second-in-command. Georgie attempts to undermine Alex's status as leader of the gang. He is later killed during a botched robbery, while Alex is in prison.
##Pete: The most rational and least violent member of the gang. He is the only one who doesn't take particular sides when the droogs fight among themselves. He later meets and marries a girl, renouncing his old ways and even losing his former (Nadsat) speech patterns. A chance encounter with Pete in the final chapter influences Alex to realize that he grows bored with violence and recognises that human energy is better expended on creation than destruction.[8]
##Dim: An idiotic and thoroughly gormless member of the gang, persistently condescended to by Alex, but respected to some extent by his droogs for his formidable fighting abilities, his weapon of choice being a length of bike chain. He later becomes a police officer, exacting his revenge on Alex for the abuse he once suffered under his command.
##P. R. Deltoid: A criminal rehabilitation social worker assigned the task of keeping Alex on the straight and narrow. He seemingly has no clue about dealing with young people, and is devoid of empathy or understanding for his troublesome charge. Indeed, when Alex is arrested for murdering an old woman, and then ferociously beaten by several police officers, Deltoid simply spits on him.
##The prison chaplain: The character who first questions whether it's moral to turn a violent person into a behavioural automaton who can make no choice in such matters. This is the only character who is truly concerned about Alex's welfare; he is not taken seriously by Alex, though. (He is nicknamed by Alex "prison charlie" or "chaplin", a pun on Charlie Chaplin.)
##Billyboy: A rival of Alex's. Early on in the story, Alex and his droogs battle Billyboy and his droogs, which ends abruptly when the police arrive. Later, after Alex is released from prison, Billyboy (along with Dim, who like Billyboy has become a police officer) rescue Alex from a mob, then subsequently beat him, in a location out of town.
##The prison governor: The man who decides to let Alex "choose" to be the first reformed by the Ludovico technique.
##The Minister of the Interior, or the Inferior, as Alex refers to him. The government high-official who is determined that Ludovico's technique will be used to cut recidivism.
##Dr. Branom: Brodsky's colleague and co-developer of the Ludovico technique. He appears friendly and almost paternal towards Alex at first, before forcing him into the theatre and what Alex calls the "chair of torture".
##Dr. Brodsky: The scientist and co-developer of the "Ludovico technique". He seems much more passive than Branom, and says considerably less.
##F. Alexander: An author who was in the process of typing his magnum opus A Clockwork Orange, when Alex and his droogs broke into his house, beat him, tore up his work and then brutally gang-raped his wife, which caused her subsequent death. He is left deeply scarred by these events, and when he encounters Alex two years later he uses him as a guinea pig in a sadistic experiment intended to prove the Ludovico technique unsound. He is given name Frank Alexander in the film.
##Cat Woman: An indirectly named woman who blocks Alex's gang's entrance scheme, and threatens to shoot Alex and set her cats on him if he doesn't leave. After Alex breaks into her house, she fights with him, ordering her cats to join the melee, but reprimands Alex for fighting them off. She sustains a fatal blow to the head during the scuffle. She is given the name Miss Weathers in the film.
Analysis[edit]
Background[edit]
A Clockwork Orange was written in Hove, then a senescent seaside town.[9] Burgess had arrived back in Britain after his stint abroad to see that much had changed. A youth culture had grown, including coffee bars, pop music and teenage gangs.[10] England was gripped by fears over juvenile delinquency.[9] Burgess claimed that the novel's inspiration was his first wife Lynne's beating by a gang of drunk American servicemen stationed in England during World War II. She subsequently miscarried.[9][11] In its investigation of free will, the book's target is ostensibly the concept of behaviourism, pioneered by such figures as B. F. Skinner.[12]
Burgess later stated that he wrote the book in three weeks.[9]
Title[edit]
Burgess gave three possible origins for the title:
##He had overheard the phrase "as queer as a clockwork orange" in a London pub in 1945 and assumed it was a Cockney expression.[citation needed] In Clockwork Marmalade, an essay published in the Listener in 1972, he said that he had heard the phrase several times since that occasion. He also explained the title in response to a question from William Everson on the television programme, Camera Three in 1972, "Well, the title has a very different meaning but only to a particular generation of London Cockneys. It's a phrase which I heard many years ago and so fell in love with, I wanted to use it, the title of the book. But the phrase itself I did not make up. The phrase "as queer as a clockwork orange" is good old East London slang and it didn't seem to me necessary to explain it. Now, obviously, I have to give it an extra meaning. I've implied an extra dimension. I've implied the junction of the organic, the lively, the sweet – in other words, life, the orange – and the mechanical, the cold, the disciplined. I've brought them together in this kind of oxymoron, this sour-sweet word."[13][14] Nonetheless, no other record of the expression being used before 1962 has ever appeared.[15] Kingsley Amis notes in his Memoirs (1991) that no trace of it appears in Eric Partridge's Dictionary of Historical Slang.
##His second explanation was that it was a pun on the Malay word orang, meaning "man." The novella contains no other Malay words or links.[15]
##In a prefatory note to A Clockwork Orange: A Play with Music, he wrote that the title was a metaphor for "...an organic entity, full of juice and sweetness and agreeable odour, being turned into a mechanism."[15]
In his essay, "Clockwork Oranges,"[citation needed] Burgess asserts that "this title would be appropriate for a story about the application of Pavlovian or mechanical laws to an organism which, like a fruit, was capable of colour and sweetness." This title alludes to the protagonist's positively conditioned responses to feelings of evil which prevent the exercise of his free will. To induce this conditioning, the protagonist is subjected to a technique in which violent scenes displayed on screen, which he is forced to watch, are systematically paired with negative stimulation in the form of nausea and "feelings of terror" caused by an emetic medicine administered just before the presentation of the films.
Point of view[edit]
A Clockwork Orange is written using a narrative first-person singular perspective of a seemingly biased and unreliable narrator. The protagonist, Alex, never justifies his actions in the narration, giving a sense that he is somewhat sincere; a narrator who, as unlikeable as he may attempt to seem, evokes pity from the reader by telling of his unending suffering, and later through his realisation that the cycle will never end. Alex's perspective is effective in that the way that he describes events is easy to relate to, even if the situations themselves are not.
Use of slang[edit]
Main article: Nadsat
The book, narrated by Alex, contains many words in a slang argot which Burgess invented for the book, called Nadsat. It is a mix of modified Slavic words, rhyming slang, derived Russian (like baboochka), and words invented by Burgess himself. For instance, these terms have the following meanings in Nadsat: droog = friend; korova = cow; gulliver ('golova') = head; malchick or malchickiwick = boy; soomka = sack or bag; Bog = God; khorosho ('horrosho') = good; prestoopnick = criminal; rooka ('rooker') = hand; cal = crap; veck ('chelloveck') = man or guy; litso = face; malenky = little; and so on. Compare Polari.
One of Alex's doctors explains the language to a colleague as "odd bits of old rhyming slang; a bit of gypsy talk, too. But most of the roots are Slav propaganda. Subliminal penetration." Some words are not derived from anything, but merely easy to guess, e.g. 'in-out, in-out' or 'the old in-out' means sexual intercourse. Cutter, however, means 'money,' because 'cutter' rhymes with 'bread-and-butter'; this is rhyming slang, which is intended to be impenetrable to outsiders (especially eavesdropping policemen). Additionally, slang like Appypolly loggy (Apology) seems to derive from school boy slang. This reflects Alex's age of 15.
In the first edition of the book, no key was provided, and the reader was left to interpret the meaning from the context. In his appendix to the restored edition, Burgess explained that the slang would keep the book from seeming dated, and served to muffle "the raw response of pornography" from the acts of violence. Furthermore, in a work of literature where a form of brainwashing plays a role, the narrative itself brainwashes the reader into understanding Nadsat.[citation needed]
The term "ultraviolence," referring to excessive and/or unjustified violence, was coined by Burgess in the book, which includes the phrase "do the ultra-violent." The term's association with aesthetic violence has led to its use in the media.[16][17][18][19]
Banning and censorship history in the US[edit]
In 1976, A Clockwork Orange was removed from an Aurora, Colorado high school because of "objectionable language". A year later in 1977 it was removed from high school classrooms in Westport, Massachusetts over similar concerns with "objectionable" language. In 1982, it was removed from two Anniston, Alabama libraries, later to be reinstated on a restricted basis. Also, in 1973 a bookseller was arrested for selling the novel. Charges were later dropped.[20] However, each of these instances came after the release of Stanley Kubrick's popular 1971 film adaptation of A Clockwork Orange, itself the subject of much controversy.
Writer's dismissal[edit]



 Burgess in 1986
In 1985, Burgess published Flame into Being: The Life and Work of D. H. Lawrence, and while discussing Lady Chatterley's Lover in his biography, Burgess compared that novel's notoriety with A Clockwork Orange: "We all suffer from the popular desire to make the known notorious. The book I am best known for, or only known for, is a novel I am prepared to repudiate: 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. I should not have written the book because of this danger of misinterpretation, and the same may be said of Lawrence and Lady Chatterley's Lover."[21] Burgess also dismissed A Clockwork Orange as "too didactic to be artistic".[22]
Awards and nominations and rankings[edit]
##1983 – Prometheus Award (Preliminary Nominee)
##1999 – Prometheus Award (Nomination)
##2002 – Prometheus Award (Nomination)
##2003 – Prometheus Award (Nomination)
##2006 – Prometheus Award (Nomination)[23]
##2008 – Prometheus Award (Hall of Fame Award)
A Clockwork Orange was chosen by Time magazine as one of the 100 best English-language books from 1923 to 2005.[24]
Adaptations[edit]



Stanley Kubrick film version's theatrical release poster by Bill Gold
The best known adaptation of the novella to other forms is the 1971 film A Clockwork Orange by Stanley Kubrick, starring Malcolm McDowell as Alex.[25]
A 1965 film by Andy Warhol entitled Vinyl was an adaptation of Burgess' novel.
After Kubrick's film was released, Burgess wrote a stage play titled A Clockwork Orange. In it, Dr. Branom defects from the psychiatric clinic when he grasps that the aversion therapy has destroyed Alex's ability to enjoy music. The play restores the novel's original ending.[citation needed]
In 1988, a German adaptation of A Clockwork Orange at the intimate theatre of Bad Godesberg featured a musical score by the German punk rock band Die Toten Hosen which, combined with orchestral clips of Beethoven's Ninth Symphony and "other dirty melodies" (so stated by the subtitle), was released on the album Ein kleines bisschen Horrorschau. The track Hier kommt Alex became one of the band's signature songs.



Vanessa Claire Smith, Sterling Wolfe, Michael Holmes, and Ricky Coates in Brad Mays' multi-media stage production of A Clockwork Orange, 2003, Los Angeles. (photo: Peter Zuehlke)


Vanessa Claire Smith in Brad Mays' multi-media stage production of A Clockwork Orange, 2003, Los Angeles. (photo: Peter Zuehlke)
In February 1990, another musical version was produced at the Barbican Theatre in London by the Royal Shakespeare Company. Titled A Clockwork Orange: 2004, it received mostly negative reviews, with John Peter of The Sunday Times of London calling it "only an intellectual Rocky Horror Show," and John Gross of The Sunday Telegraph calling it "a clockwork lemon." Even Burgess himself, who wrote the script based on his novel, was disappointed. According to The Evening Standard, he called the score, written by Bono and The Edge of the rock group U2, "neo-wallpaper." Burgess had originally worked alongside the director of the production, Ron Daniels, and envisioned a musical score that was entirely classical. Unhappy with the decision to abandon that score, he heavily criticised the band's experimental mix of hip hop, liturgical and gothic music. Lise Hand of The Irish Independent reported The Edge as saying that Burgess' original conception was "a score written by a novelist rather than a songwriter." Calling it "meaningless glitz," Jane Edwardes of 20/20 Magazine said that watching this production was "like being invited to an expensive French Restaurant - and being served with a Big Mac."
In 1994, Chicago's Steppenwolf Theater put on a production of A Clockwork Orange directed by Terry Kinney. The American premiere of novelist Anthony Burgess' own adaptation of his A Clockwork Orange starred K. Todd Freeman as Alex. In 2001, UNI Theatre (Mississauga, Ontario) presented the Canadian premiere of the play under the direction of Terry Costa.[26]
In 2002, Godlight Theatre Company presented the New York Premiere adaptation of A Clockwork Orange at Manhattan Theatre Source. The production went on to play at the SoHo Playhouse (2002), Ensemble Studio Theatre (2004), 59E59 Theaters (2005) and the Edinburgh Festival Fringe (2005). While at Edinburgh, the production received rave reviews from the press while playing to sold-out audiences. The production was directed by Godlight's Artistic Director, Joe Tantalo.
In 2003, Los Angeles director Brad Mays[27] and the ARK Theatre Company[28] staged a multi-media adaptation of A Clockwork Orange,[29][30] which was named "Pick Of The Week" by the LA Weekly and nominated for three of the 2004 LA Weekly Theater Awards: Direction, Revival Production (of a 20th-century work), and Leading Female Performance.[31] Vanessa Claire Smith won Best Actress for her gender-bending portrayal of Alex, the music-loving teenage sociopath.[32] This production utilised three separate video streams outputted to seven onstage video monitors - six 19-inch and one 40-inch. In order to preserve the first-person narrative of the book, a pre-recorded video stream of Alex, "your humble narrator," was projected onto the 40-inch monitor,[33] thereby freeing the onstage character during passages which would have been awkward or impossible to sustain in the breaking of the fourth wall.[34]
Release details[edit]

Gnome-searchtool.svg
 This article's factual accuracy is disputed. Please help to ensure that disputed statements are reliably sourced. See the relevant discussion on the talk page. (May 2013)
##1962, UK, William Heinemann (ISBN ?), December 1962, Hardcover
##1962, US, W. W. Norton & Co Ltd (ISBN ?), 1962, Hardcover
##1963, US, W. W. Norton & Co Ltd (ISBN 0-345-28411-9), 1963, Paperback
##1965, US, Ballantine Books (ISBN 0-345-01708-0), 1965, Paperback
##1969, US, Ballantine Books (ISBN ?), 1969, Paperback
##1971, US, Ballantine Books (ISBN 0-345-02624-1), 1971, Paperback,Movie released
##1972, UK, Lorrimer, (ISBN 0-85647-019-8), 11 September 1972, Hardcover
##1972, UK, Penguin Books Ltd (ISBN 0-14-003219-3), 25 January 1973, Paperback
##1973, US, Caedmon Records, 1973, Vinyl LP (First 4 chapters read by Anthony Burgess)
##1977, US, Ballantine Books (ISBN 0-345-27321-4), 12 September 1977, Paperback
##1979, US, Ballantine Books (ISBN 0-345-31483-2), April 1979, Paperback
##1983, US, Ballantine Books (ISBN 0-345-31483-2), 12 July 1983, Unbound
##1986, US, W. W. Norton & Company (ISBN 0-393-31283-6), November 1986, Paperback (Adds final chapter not previously available in U.S. versions)
##1987, UK, W. W. Norton & Co Ltd (ISBN 0-393-02439-3), July 1987, Hardcover
##1988, US, Ballantine Books (ISBN 0-345-35443-5), March 1988, Paperback
##1995, UK, W. W. Norton & Co Ltd (ISBN 0-393-31283-6), June 1995, Paperback
##1996, UK, Penguin Books Ltd (ISBN 0-14-018882-7), 25 April 1996, Paperback
##1996, UK, HarperAudio (ISBN 0-694-51752-6), September 1996, Audio Cassette
##1997, UK, Heyne Verlag (ISBN 3-453-13079-0), 31 January 1997, Paperback
##1998, UK, Penguin Books Ltd (ISBN 0-14-027409-X), 3 September 1998, Paperback
##1999, UK, Rebound by Sagebrush (ISBN 0-8085-8194-5), October 1999, Library Binding
##2000, UK, Penguin Books Ltd (ISBN 0-14-118260-1), 24 February 2000, Paperback
##2000, UK, Penguin Books Ltd (ISBN 0-14-029105-9), 2 March 2000, Paperback
##2000, UK, Turtleback Books (ISBN 0-606-19472-X), November 2000, Hardback
##2001, UK, Penguin Books Ltd (ISBN 0-14-100855-5), 27 September 2001, Paperback
##2002, UK, Thorndike Press (ISBN 0-7862-4644-8), October 2002, Hardback
##2005, UK, Buccaneer Books (ISBN 1-56849-511-0), 29 January 2005, Library Binding
##2010, Greece, Anubis Publications (ISBN 978-960-306-847-1), 2010, Paperback (Adds final chapter not previously available in Greek versions)
##2012, US, W. W. Norton & Company (ISBN 978-0-393-08913-4) October 22, 2012, Hardback (50th Anniversary Edition), revised text version. Andrew Biswell, PhD, director of the International Burgess Foundation, has taken a close look at the three varying published editions alongside the original typescript to recreate the novel as Anthony Burgess envisioned it.[35]
See also[edit]

Portal icon Novels portal
Portal icon Speculative fiction portal
##Aestheticization of violence
##List of cultural references to A Clockwork Orange
##List of stories set in a future now past
##Nadsat
##Project MKUltra
References[edit]
1.Jump up ^ "Books of The Times". The New York Times. 19 March 1963.
2.Jump up ^ "A Clockwork Orange - The book versus the Film". Retrieved 19 September 2013.
3.Jump up ^ Grossman, Lev; Lacayo, Richard (16 October 2005). "All-Time 100 Novels: The Complete List". Time.
4.Jump up ^ "100 Best Novels". Modern Library. Retrieved 31 October 2012
5.Jump up ^ Humphreys, Adrian (11 November 2012). "A clockwork original: McMaster University bought manuscript of iconic novel for $250". National Post. Retrieved 13 November 2012.
6.Jump up ^ Burgess, Anthony (1986) A Clockwork Orange Resucked in A Clockwork Orange, W. W. Norton & Company, New York.
7.Jump up ^ "The Kubrick Site: Kubrick's comments regarding 'A Clockwork Orange'". Visual-memory.co.uk. Retrieved 2014-01-03.
8.Jump up ^ A Clockwork Orange Resucked. The Floating Library. Retrieved on 2013-10-31.
9.^ Jump up to: a b c d Ahmed, Samira (3 July 2012). A Clockwork Orange - interview with Will Self. (Interview). Nightwaves. BBC.
10.Jump up ^ A Clockwork Orange (Penguin Modern Classics) (Paperback) by Anthony Burgess, Blake Morrison xv
11.Jump up ^ Burgess, A. A Clockwork Orange, Penguin UK, 2011, introduction by Blake Morrison, page 17 : « his first wife, Lynne, was beaten, kicked and robbed in London by a gang of four GI deserters ».
12.Jump up ^ A Clockwork Orange (Paperback) by Anthony Burgess, Will Self
13.Jump up ^ An examination of Kubrick's A Clockwork Orange Camera Three: Creative Arts Television, 2010-08-04. (Video)
14.Jump up ^ Clockwork Orange: A review with William Everson. Retrieved: 2012-03-11.
15.^ Jump up to: a b c Dexter, Gary (2008). Why Not Catch-21?: The Stories Behind the Titles. Frances Lincoln Ltd. pp. 200–203. ISBN 0-7112-2925-2.
16.Jump up ^ AFP (29 October 2007). "Gruesome 'Saw 4' slashes through North American box-office". Archived from the original on 16 January 2008. Retrieved 2008-01-15.
17.Jump up ^ "Q&A With 'Hostel' Director Eli Roth and Quentin Tarantino - New York Magazine". Archived from the original on 9 January 2008. Retrieved 2008-01-15.
18.Jump up ^ "ADV Announces New Gantz Collection, Final Guyver & More: Nov 6 Releases". Archived from the original on 5 February 2008. Retrieved 2008-01-15.
19.Jump up ^ CBS News (30 October 2007). ""Manhunt 2": Most Violent Game Yet?, Critics Say New Video Game Is Too Realistic; Players Must Torture, Kill - CBS News". Archived from the original on 2 January 2008. Retrieved 2008-01-15.
20.Jump up ^ "Banned and/or Challenged Books from the Radcliffe Publishing Course Top 100 Novels of the 20th Century". American Library Association, 29 March 2007. (Accessed 24 April 2012)Document ID: a6b9d0cb-cf04-dcc4-e1b3-acda735f48bd
21.Jump up ^ Flame into Being: The Life and Work of D. H. Lawrence (Heinemann, London 1985) Anthony Burgess, p 205
22.Jump up ^ A Clockwork Orange (Penguin Modern Classics) (Paperback) by Anthony Burgess, Blake Morrison xxii
23.Jump up ^ "Libertarian Futurist Society". Lfs.org. Retrieved 2014-01-03.
24.Jump up ^ "The Complete List | TIME Magazine — ALL-TIME 100 Novels". Time magazine. 16 October 2005. Archived from the original on 19 August 2007. Retrieved 20 August 2007.
25.Jump up ^ Canby, Vincent (20 December 1971). "A Clockwork Orange (1971) 'A Clockwork Orange' Dazzles the Senses and Mind". The New York Times.
26.Jump up ^ "Mirateca Arts". Mirateca.com. Retrieved 2014-01-03.
27.Jump up ^ "Brad Mays". Brad Mays. Retrieved 2014-01-03.
28.Jump up ^ "Ark Theatre". Ark Theatre. Retrieved 2014-01-03.
29.Jump up ^ "Production Photos from ''A Clockwork Orange,'' 2003, ARK Theatre Company, directed by Brad Mays". Bradmays.com. Retrieved 2014-01-03.
30.Jump up ^ Kavner, Lucas (20 July 2011). "'A Clockwork Orange' Songs To Be Performed For First Time In History". Huffingtonpost.com. Retrieved 2011-11-28.
31.Jump up ^ A A A Comments (0) Thursday, Feb 12 2004 (12 February 2004). "LA Weekly Theatre Awards Nominations ''A Clockwork Orange'' - nominations for "Best Revival Production," "Best Leading Female Performance," "Best Direction"". Laweekly.com. Retrieved 2014-01-03.
32.Jump up ^ A A A Comments (0) Thursday, Apr 29 2004 (29 April 2004). "LA Weekly Theatre Awards ''A Clockwork Orange'' - Vanessa Claire Smith wins for "Best Leading Female Performance"". Laweekly.com. Retrieved 2014-01-03.
33.Jump up ^ "Brad Mays (image)". Retrieved 2014-01-03.
34.Jump up ^ "Brad Mays Gallery: A Clockwork Orange". Bradmays.com. Retrieved 2014-01-03.
35.Jump up ^ "A Clockwork Orange | W. W. Norton & Company". Books.wwnorton.com. Retrieved 2014-01-03.
Further reading[edit]
##A Clockwork Orange: A Play With Music. Century Hutchinson Ltd. (1987). An extract is quoted on several web sites: Anthony Burgess from A Clockwork Orange: A play with music (Century Hutchinson Ltd, 1987), anthony burgess on 'a clockwork orange' - page 2 at the Wayback Machine (archived December 15, 2005), A Clockwork Orange - From A Clockwork Orange: A Play With Music
##Burgess, Anthony (1978). Clockwork Oranges. In 1985. London: Hutchinson. ISBN 0-09-136080-3 (extracts quoted here)
##Vidal, Gore (1988). "Why I Am Eight Years Younger Than Anthony Burgess". At Home: Essays, 1982–1988. New York: Random House. p. 411. ISBN 0-394-57020-0.
##Tuck, Donald H. (1974). The Encyclopedia of Science Fiction and Fantasy. Chicago: Advent. p. 72. ISBN 0-911682-20-1.
External links[edit]
 Wikiquote has quotations related to: A Clockwork Orange
 Wikimedia Commons has media related to A Clockwork Orange.
##A Clockwork Orange title listing at the Internet Speculative Fiction Database
##A Clockwork Orange at SparkNotes
##A Clockwork Orange at Literapedia
##A Clockwork Orange (1962) | Last chapter | Anthony Burgess (1917-1993)
Comparisons with the Kubrick film adaptation##Dalrymple, Theodore. "A Prophetic and Violent Masterpiece", City Journal
##Giola, Ted. "A Clockwork Orange by Anthony Burgess" at Conceptual Fiction
##Priestley, Brenton. "Of Clockwork Apples and Oranges: Burgess and Kubrick (2002)"


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A Clockwork Orange (soundtrack)
From Wikipedia, the free encyclopedia
Jump to: navigation, search


Stanley Kubrick's A Clockwork Orange

Soundtrack album by Wendy Carlos

Released
1972
Recorded
1971
Genre
Classical music
Label
Columbia Records
Wendy Carlos chronology

Sonic Seasonings
 (1972) Stanley Kubrick's A Clockwork Orange
 (1972) Wendy Carlos' Clockwork Orange
 (1972)

The soundtrack to Stanley Kubrick's A Clockwork Orange was released to accompany the 1971 film of the same name. The music is a thematic extension of Alex's (and the viewer's) psychological conditioning. The soundtrack of A Clockwork Orange comprises classical music and electronic synthetic music composed by Wendy Carlos (then Walter Carlos). Some of the music is heard only as excerpts, e.g. Edward Elgar's Pomp and Circumstance March No. 1 (aka Land of Hope and Glory) ironically heralding a politician's appearance at the prison. The main theme is an electronic transcription of Henry Purcell's Music for the Funeral of Queen Mary, composed in 1695, for the procession of Queen Mary's cortège through London en route to Westminster Abbey. "March from 'A Clockwork Orange'" (based on the choral movement of the Ninth Symphony by Beethoven) was the first recorded song featuring a vocoder for the singing; synthpop bands often cite it as their inspiration. Neither the end credits nor the soundtrack album identify the orchestra playing the Ninth Symphony excerpts, however, in Alex's bedroom, there is a close-up of a microcassette tape labeled: Deutsche Grammophon – Ludwig van Beethoven – Symphonie Nr. 9 d-moll, op. 125 – Berliner Philharmoniker – Chor der St. Hedwigskathedrale – Ferenc Fricsay – Irmgard Seefried, Maureen Forrester, Dietrich Fischer-Dieskau, Ernst Haefliger.
In the novel, Alex is conditioned against all classical music, but in the film, only against L. v. Beethoven's Ninth Symphony, the soundtrack of a violent Ludovico Technique film. The audience does not see every violent film Alex is forced to view during Ludovico conditioning, yet the symphony's fourth movement is heard. Later, using the symphony's second movement, Mr Alexander, and fellow plotters, impel Alex to attempt suicide.


Contents  [hide]
1 Track listing
2 Second version
3 Reuse of music
4 References

Track listing[edit]

Side One

No.
Title
Writer(s)
Performer
Length

1. "Title Music From A Clockwork Orange" (From Henry Purcell's Music for the Funeral of Queen Mary) Carlos, Rachel Elkind Wendy Carlos[1] 2:21
2. "The Thieving Magpie (Abridged)"   Gioachino Rossini A Deutsche Grammophon Recording 5:57
3. "Theme from A Clockwork Orange (Beethoviana)"   Carlos, Elkind Wendy Carlos 1:44
4. "Ninth Symphony, Second Movement (Abridged)"   Ludwig van Beethoven A Deutsche Grammophon Recording conducted by Ferenc Fricsay 3:48
5. "March from A Clockwork Orange (Ninth Symphony, Fourth Movement, Abridged)"   Beethoven, arr. Carlos
Friedrich Schiller (lyric) Wendy Carlos
 (Articulations: Rachel Elkind) 7:00
6. "William Tell Overture (Abridged)"   Rossini Wendy Carlos 1:17

Side Two

No.
Title
Writer(s)
Performer
Length

7. "Pomp and Circumstance March No. I"   Edward Elgar (not credited) 4:28
8. "Pomp and Circumstance March No. IV (Abridged)"   Elgar (not credited) 1:33
9. "Timesteps (Excerpt)"   Carlos Wendy Carlos 4:13
10. "Overture to the Sun" (rerecorded instrumental from Sound of Sunforest, 1969) Tucker Terry Tucker 1:40
11. "I Want to Marry a Lighthouse Keeper" (rerecorded song from Sound of Sunforest, 1969; film version differs from soundtrack version) Eigen Erika Eigen 1:00
12. "William Tell Overture (Abridged)"   Rossini A Deutsche Grammophon Recording 2:58
13. "Suicide Scherzo (Ninth Symphony, Second Movement, Abridged)"   Beethoven, arr. Carlos Wendy Carlos 3:07
14. "Ninth Symphony, Fourth Movement, (Abridged)"   Beethoven A Deutsche Grammophon Recording (Karajan, 1963, uncredited) 1:34
15. "Singin' in the Rain"   lyrics by Arthur Freed, music by Nacio Herb Brown Gene Kelly 2:36
Although two excerpts from Rimsky-Korsakov's Scheherazade are heard during Alex's Biblical daydreams while reading the Bible in jail, this piece does not appear on the soundtrack album, nor is it listed in the closing credits.
However, its presence in the film is acknowledged by critic Michel Ciment in the filmography in the back of his book Kubrick, and at least the composer's name is mentioned as used in the soundtrack in three other books on either Kubrick or the film.[1]
According to Kristopher Spencer's book on film scores[2] both Rimsky-Korsakov's Scheherazade and Terry Tucker's Overture to the Sun were used by Kubrick originally as temp tracks for the film, but he ultimately chose to stick to these rather than the pieces Carlos composed for those sections. He states the original LP omitted the first due to lack of space on a traditional vinyl LP recording.
Second version[edit]
Three months after the official soundtrack's release, composer Carlos released Walter Carlos' Clockwork Orange (1972) (Columbia KC 31480), a second version of the soundtrack containing unused cues and musical elements unheard in the film. For example, Kubrick used only part of "Timesteps", and a short version of the synthesiser transcription of the Ninth Symphony's Scherzo. The second soundtrack album contains a synthesiser version of Rossini's "La Gazza Ladra" (The Thieving Magpie); the film contains an orchestral version. In 1998, a digitally-remastered album edition, with tracks of the synthesiser music was released. It contains Carlos' compositions, including those unused in the film, and the "Biblical Daydreams" and "Orange Minuet" cues excluded from the 1972 edition.
Carlos composed the first three minutes of "Timesteps" before reading the novel A Clockwork Orange. Originally intending it as the introduction to a vocoder rendition of the Ninth Symphony's Choral movement; it was completed approximately when Kubrick completed the photography; "Timesteps" and the vocoder Ninth Symphony were the foundation for the Carlos–Kubrick collaboration.
Moreover, Stanley Kubrick asked Pink Floyd bassist Roger Waters to use elements of the Atom Heart Mother suite. Waters refused when he found that Kubrick wanted the freedom to cut up the piece to fit the film.[3] Later, Waters asked Kubrick if he could use sounds from 2001: A Space Odyssey; Kubrick duly refused.[4]
It is said[by whom?] that Carlos was so insulted by Kubrick's decision to jettison most of the synthesizer score that she and Elkind refused to work with Kubrick again until The Shining.
Reuse of music[edit]
Wendy Carlos reused many of the musical motifs from this score (including the main themes by Purcell, Rossini, and Beethoven) in Clockwork Black, the 4th movement of her (1998) musical composition Tales of Heaven and Hell.
References[edit]
1.Jump up ^ Thomas Nelson Kubrick, inside a film artist's maze p. 303, Stanley Kubrick's A clockwork orange by Stuart MacDougal - Page 157, Stanley Kubrick: a narrative and stylistic analysis by Mario Falsetto - Page 193
2.Jump up ^ Film and television scores, 1950-1979: a critical survey by genre by Kristopher Spencer pp.191-192
3.Jump up ^ Blake, Mark (2007). Pigs Might Fly: The Inside Story of Pink Floyd. London, United Kingdom: Aurum Press Limited. p. 153. ISBN 978-1-84513-366-5.
4.Jump up ^ Blake, Mark (2007). Pigs Might Fly: The Inside Story of Pink Floyd. London, United Kingdom: Aurum Press Limited. p. 349. ISBN 978-1-84513-366-5.


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Anthony Burgess's A Clockwork Orange
























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A Clockwork Orange





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 http://en.wikipedia.org/wiki/A_Clockwork_Orange_(soundtrack)









A Clockwork Orange (soundtrack)
From Wikipedia, the free encyclopedia
Jump to: navigation, search


Stanley Kubrick's A Clockwork Orange

Soundtrack album by Wendy Carlos

Released
1972
Recorded
1971
Genre
Classical music
Label
Columbia Records
Wendy Carlos chronology

Sonic Seasonings
 (1972) Stanley Kubrick's A Clockwork Orange
 (1972) Wendy Carlos' Clockwork Orange
 (1972)

The soundtrack to Stanley Kubrick's A Clockwork Orange was released to accompany the 1971 film of the same name. The music is a thematic extension of Alex's (and the viewer's) psychological conditioning. The soundtrack of A Clockwork Orange comprises classical music and electronic synthetic music composed by Wendy Carlos (then Walter Carlos). Some of the music is heard only as excerpts, e.g. Edward Elgar's Pomp and Circumstance March No. 1 (aka Land of Hope and Glory) ironically heralding a politician's appearance at the prison. The main theme is an electronic transcription of Henry Purcell's Music for the Funeral of Queen Mary, composed in 1695, for the procession of Queen Mary's cortège through London en route to Westminster Abbey. "March from 'A Clockwork Orange'" (based on the choral movement of the Ninth Symphony by Beethoven) was the first recorded song featuring a vocoder for the singing; synthpop bands often cite it as their inspiration. Neither the end credits nor the soundtrack album identify the orchestra playing the Ninth Symphony excerpts, however, in Alex's bedroom, there is a close-up of a microcassette tape labeled: Deutsche Grammophon – Ludwig van Beethoven – Symphonie Nr. 9 d-moll, op. 125 – Berliner Philharmoniker – Chor der St. Hedwigskathedrale – Ferenc Fricsay – Irmgard Seefried, Maureen Forrester, Dietrich Fischer-Dieskau, Ernst Haefliger.
In the novel, Alex is conditioned against all classical music, but in the film, only against L. v. Beethoven's Ninth Symphony, the soundtrack of a violent Ludovico Technique film. The audience does not see every violent film Alex is forced to view during Ludovico conditioning, yet the symphony's fourth movement is heard. Later, using the symphony's second movement, Mr Alexander, and fellow plotters, impel Alex to attempt suicide.


Contents  [hide]
1 Track listing
2 Second version
3 Reuse of music
4 References

Track listing[edit]

Side One

No.
Title
Writer(s)
Performer
Length

1. "Title Music From A Clockwork Orange" (From Henry Purcell's Music for the Funeral of Queen Mary) Carlos, Rachel Elkind Wendy Carlos[1] 2:21
2. "The Thieving Magpie (Abridged)"   Gioachino Rossini A Deutsche Grammophon Recording 5:57
3. "Theme from A Clockwork Orange (Beethoviana)"   Carlos, Elkind Wendy Carlos 1:44
4. "Ninth Symphony, Second Movement (Abridged)"   Ludwig van Beethoven A Deutsche Grammophon Recording conducted by Ferenc Fricsay 3:48
5. "March from A Clockwork Orange (Ninth Symphony, Fourth Movement, Abridged)"   Beethoven, arr. Carlos
Friedrich Schiller (lyric) Wendy Carlos
 (Articulations: Rachel Elkind) 7:00
6. "William Tell Overture (Abridged)"   Rossini Wendy Carlos 1:17

Side Two

No.
Title
Writer(s)
Performer
Length

7. "Pomp and Circumstance March No. I"   Edward Elgar (not credited) 4:28
8. "Pomp and Circumstance March No. IV (Abridged)"   Elgar (not credited) 1:33
9. "Timesteps (Excerpt)"   Carlos Wendy Carlos 4:13
10. "Overture to the Sun" (rerecorded instrumental from Sound of Sunforest, 1969) Tucker Terry Tucker 1:40
11. "I Want to Marry a Lighthouse Keeper" (rerecorded song from Sound of Sunforest, 1969; film version differs from soundtrack version) Eigen Erika Eigen 1:00
12. "William Tell Overture (Abridged)"   Rossini A Deutsche Grammophon Recording 2:58
13. "Suicide Scherzo (Ninth Symphony, Second Movement, Abridged)"   Beethoven, arr. Carlos Wendy Carlos 3:07
14. "Ninth Symphony, Fourth Movement, (Abridged)"   Beethoven A Deutsche Grammophon Recording (Karajan, 1963, uncredited) 1:34
15. "Singin' in the Rain"   lyrics by Arthur Freed, music by Nacio Herb Brown Gene Kelly 2:36
Although two excerpts from Rimsky-Korsakov's Scheherazade are heard during Alex's Biblical daydreams while reading the Bible in jail, this piece does not appear on the soundtrack album, nor is it listed in the closing credits.
However, its presence in the film is acknowledged by critic Michel Ciment in the filmography in the back of his book Kubrick, and at least the composer's name is mentioned as used in the soundtrack in three other books on either Kubrick or the film.[1]
According to Kristopher Spencer's book on film scores[2] both Rimsky-Korsakov's Scheherazade and Terry Tucker's Overture to the Sun were used by Kubrick originally as temp tracks for the film, but he ultimately chose to stick to these rather than the pieces Carlos composed for those sections. He states the original LP omitted the first due to lack of space on a traditional vinyl LP recording.
Second version[edit]
Three months after the official soundtrack's release, composer Carlos released Walter Carlos' Clockwork Orange (1972) (Columbia KC 31480), a second version of the soundtrack containing unused cues and musical elements unheard in the film. For example, Kubrick used only part of "Timesteps", and a short version of the synthesiser transcription of the Ninth Symphony's Scherzo. The second soundtrack album contains a synthesiser version of Rossini's "La Gazza Ladra" (The Thieving Magpie); the film contains an orchestral version. In 1998, a digitally-remastered album edition, with tracks of the synthesiser music was released. It contains Carlos' compositions, including those unused in the film, and the "Biblical Daydreams" and "Orange Minuet" cues excluded from the 1972 edition.
Carlos composed the first three minutes of "Timesteps" before reading the novel A Clockwork Orange. Originally intending it as the introduction to a vocoder rendition of the Ninth Symphony's Choral movement; it was completed approximately when Kubrick completed the photography; "Timesteps" and the vocoder Ninth Symphony were the foundation for the Carlos–Kubrick collaboration.
Moreover, Stanley Kubrick asked Pink Floyd bassist Roger Waters to use elements of the Atom Heart Mother suite. Waters refused when he found that Kubrick wanted the freedom to cut up the piece to fit the film.[3] Later, Waters asked Kubrick if he could use sounds from 2001: A Space Odyssey; Kubrick duly refused.[4]
It is said[by whom?] that Carlos was so insulted by Kubrick's decision to jettison most of the synthesizer score that she and Elkind refused to work with Kubrick again until The Shining.
Reuse of music[edit]
Wendy Carlos reused many of the musical motifs from this score (including the main themes by Purcell, Rossini, and Beethoven) in Clockwork Black, the 4th movement of her (1998) musical composition Tales of Heaven and Hell.
References[edit]
1.Jump up ^ Thomas Nelson Kubrick, inside a film artist's maze p. 303, Stanley Kubrick's A clockwork orange by Stuart MacDougal - Page 157, Stanley Kubrick: a narrative and stylistic analysis by Mario Falsetto - Page 193
2.Jump up ^ Film and television scores, 1950-1979: a critical survey by genre by Kristopher Spencer pp.191-192
3.Jump up ^ Blake, Mark (2007). Pigs Might Fly: The Inside Story of Pink Floyd. London, United Kingdom: Aurum Press Limited. p. 153. ISBN 978-1-84513-366-5.
4.Jump up ^ Blake, Mark (2007). Pigs Might Fly: The Inside Story of Pink Floyd. London, United Kingdom: Aurum Press Limited. p. 349. ISBN 978-1-84513-366-5.


[show]
v ·
 t ·
 e
 
Anthony Burgess's A Clockwork Orange
























[show]
v ·
 t ·
 e
 
Wendy Carlos






















  


Categories: 1972 soundtracks
A Clockwork Orange





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 http://en.wikipedia.org/wiki/A_Clockwork_Orange_(soundtrack)










A Clockwork Orange (film)
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A Clockwork Orange
Clockwork orangeA.jpg
Theatrical release poster by Bill Gold

Directed by
Stanley Kubrick
Produced by
Stanley Kubrick
Screenplay by
Stanley Kubrick
Based on
A Clockwork Orange
 by Anthony Burgess
Starring
Malcolm McDowell
Patrick Magee
Adrienne Corri
Miriam Karlin

Music by
Walter Carlos
Cinematography
John Alcott
Edited by
Bill Butler

Production
 companies

Polaris Productions
Hawk Films

Distributed by
Warner Bros. (United States)
Columbia-Warner Distributors (United Kingdom)


Release dates

19 December 1971 (New York City)
13 January 1972 (United Kingdom)
2 February 1972 (United States)


Running time
 136 minutes[1]
Country
United Kingdom
United States[2]

Language
English
Nadsat

Budget
$2.2 million[3]
Box office
$26.6 million (North America)[3]
A Clockwork Orange is a 1971 dystopian crime film adapted, produced, and directed by Stanley Kubrick, based on Anthony Burgess's 1962 novella A Clockwork Orange. It employs disturbing, violent images to comment on psychiatry, juvenile delinquency, youth gangs, and other social, political, and economic subjects in a dystopian near-future Britain.
Alex (Malcolm McDowell), the main character, is a charismatic, sociopathic delinquent whose interests include classical music (especially Beethoven), rape, and what is termed "ultra-violence." He leads a small gang of thugs (Pete, Georgie, and Dim), whom he calls his droogs (from the Russian друг, "friend," "buddy"). The film chronicles the horrific crime spree of his gang, his capture, and attempted rehabilitation via controversial psychological conditioning. Alex narrates most of the film in Nadsat, a fractured adolescent slang composed of Slavic (especially Russian), English, and Cockney rhyming slang.
The soundtrack to A Clockwork Orange features mostly classical music selections and Moog synthesizer compositions by Wendy Carlos (then known as Walter Carlos). The artwork of the now-iconic poster of A Clockwork Orange was created by Philip Castle with the layout by designer Bill Gold.


Contents  [hide]
1 Plot
2 Cast
3 Themes 3.1 Morality
3.2 Psychology
4 Production 4.1 Adaptation 4.1.1 The novelist's response
4.2 Direction
4.3 Nature of the society
4.4 Locations
4.5 Music
5 Reception 5.1 Responses and controversy 5.1.1 American version
5.1.2 British withdrawal 5.1.2.1 Withdrawal controversy documentary

5.2 Accolades 5.2.1 Won
5.2.2 Nominated

6 Differences between the film and the novel
7 Home media
8 In popular culture
9 See also
10 Notes and References 10.1 Notes
10.2 References
11 Further reading
12 External links

Plot[edit]
In futuristic London, Alex DeLarge is the leader of his "droogs," Georgie, Dim, and Pete. One night, after getting intoxicated on "milk plus" (milk laced with drugs), they engage in an evening of "ultra-violence," including beating an elderly vagrant and fighting a rival gang led by Billyboy. Stealing a car, they drive to the country home of writer F. Alexander, where they beat Mr. Alexander to the point of crippling him for life. Alex then rapes his wife while singing "Singin' in the Rain."
The next day, while truant from school, Alex is approached by probation officer Mr. P. R. Deltoid, who is aware of Alex's activities and cautions him. In response, Alex visits a record store where he picks up two girls, Sonietta and Marty. He takes them home and has sex with them.
That night, his droogs express discontent with Alex's petty crimes, demanding more equality and more high-yield thefts. Alex reasserts his leadership by attacking them. Later Alex invades the mansion of a wealthy "cat-lady," while his droogs remain at the front door. Alex bludgeons the woman with a phallic statue. Hearing police sirens, Alex tries to run away, but Dim smashes a pint bottle of milk across his face, leaving him stunned and bleeding. Alex is captured and beaten by the police. A gloating Deltoid spits in his face after he informs him that the woman died in the hospital, making him a murderer. Alex is sentenced to 14 years in prison.
Two years into the sentence, the Minister of the Interior arrives at the prison looking for test subjects for the Ludovico technique, an experimental aversion therapy for rehabilitating criminals within two weeks; Alex readily volunteers. The process involves drugging the subject, strapping him to a chair, propping his eyelids open, and forcing him to watch images of violence. Alex becomes nauseated due to the drugs. He realizes that one of the films' soundtracks is by his favourite composer, Ludwig van Beethoven, and that the Ludovico technique will make him sick when he hears the music he loves. He begs the doctors to end the treatment, but they ignore his pleas.
After two weeks of the Ludovico technique, the Minister of the Interior puts on a demonstration to prove that Alex is "cured". He is shown to be incapable of fighting back against an actor who insults and attacks him, and he becomes violently ill at the sight of a topless woman. The prison chaplain protests at the results, feeling that Alex has been robbed of his God-given freewill: "He ceases to be a wrongdoer. He ceases also to be a creature capable of moral choice." The prison governor asserts that they are not interested in the higher ethics but only with "cutting down crime and relieving the ghastly congestion in our prisons."
Alex is released and finds that his possessions have been confiscated by the police to help make restitution to his victims, and that his parents have rented out his room. Homeless, Alex encounters the elderly vagrant from before, who attacks him with several other friends. Alex is saved by two policemen who turn out to be Dim and Georgie. They drag Alex to the countryside, where they beat and nearly drown him. The dazed Alex wanders the countryside before coming to the home of the writer Mr. Alexander, who is now paralyzed. Alex collapses, then wakes up to find himself being cared for by Alexander and his manservant, Julian. Mr. Alexander, who does not recognize Alex as his attacker, has read about his treatment in the newspapers. Seeing Alex as a political weapon to attack the government, Mr. Alexander prepares to introduce Alex to his colleagues, but then he hears Alex singing "Singin' in the Rain" in the bath, and identifies Alex as the attacker who crippled him and raped his wife. With his colleagues' help, Alexander drugs Alex and places him in a locked upstairs bedroom. Alex wakes to hear Beethoven's Ninth Symphony playing loudly through the floor below. Experiencing excruciating pain, he tries to commit suicide by jumping from the window and is knocked unconscious by the fall.
Alex wakes up in a hospital with broken bones. While being given a series of psychological tests, Alex finds that he no longer has an aversion to violence or to sex. The Minister of the Interior arrives and apologizes to Alex. He offers to take care of Alex and get him a job in return for cooperation with his election campaign and PR counter-offensive. As a sign of goodwill, the Minister brings in a stereo system playing Beethoven's Ninth. Alex then contemplates violence and vivid thoughts of himself having sex in the snow with a woman in front of an approving crowd: "I was cured, all right!"
Cast[edit]
Malcolm McDowell as Alex DeLarge
Patrick Magee as Mr. Frank Alexander
Michael Bates as Chief Guard Barnes
Warren Clarke as Dim
John Clive as Stage Actor
Adrienne Corri as Mrs. Mary Alexander
Carl Duering as Dr. Brodsky
Paul Farrell as Tramp
Clive Francis as Joe the Lodger
Michael Gover as Prison Governor
Miriam Karlin as Cat Lady
James Marcus as Georgie
Aubrey Morris as P. R. Deltoid
Godfrey Quigley as Prison Chaplain
Sheila Raynor as Mum
Madge Ryan as Dr. Branom
John Savident as Conspirator
Anthony Sharp as Frederick, Minister of the Interior
Philip Stone as Dad
Pauline Taylor as Dr. Taylor, psychiatrist
Margaret Tyzack as Conspirator Rubinstein
Steven Berkoff as Detective Constable Tom
Lindsay Campbell as Police Inspector
Michael Tarn as Pete
David Prowse as Julian, Mr. Alexander's bodyguard
Jan Adair, Vivienne Chandler and Prudence Dage as handmaidens
Peter Burton as Junior Minister
John J. Carney as Detective Sergeant
Richard Connaught as Billyboy, Gang Leader
Carol Drinkwater as Nurse Feeley
Cheryl Grunwald as Rape Victim in Film
Gillian Hills as Sonietta
Virginia Wetherell as Stage Actress
Katya Wyeth as Girl in Ascot Fantasy
Barrie Cookson
Lee Fox as Desk Sergeant
Craig Hunter as Doctor
Shirley Jaffe
Neil Wilson as Prison Check-in Officer
Pat Roach as Milkbar Bouncer
[4]
Themes[edit]
Morality[edit]
The film's central moral question (as in many of Burgess' books) is the definition of "goodness" and whether it makes sense to use aversion therapy to stop immoral behaviour.[5] Stanley Kubrick, writing in Saturday Review, described the film as:

"...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."[6]
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."
After aversion therapy, Alex behaves like a good member of society, but not by choice. His goodness is involuntary; he has become the titular clockwork orange — organic on the outside, mechanical on the inside. In the prison, after witnessing the Technique in action on Alex, the chaplain criticises it 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 for their purely political ends.[7] The story critically portrays the "conservative" and "liberal" parties as equal, for using Alex as a means to their political ends: the writer Frank Alexander — a victim of Alex and gang — wants revenge against Alex and sees him as a means of definitively turning the populace against the incumbent government and its new regime. Mr. Alexander fears the new government; in telephonic 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 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.
It has been noted that Alex's immorality is reflected in the society in which he lives.[8] The Cat Lady's love of hardcore pornographic art is comparable to Alex's taste for sex and violence. Lighter forms of pornographic content adorn Alex's parents' home and, in a later scene, Alex awakens in hospital from his coma, interrupting a nurse and doctor engaged in a sexual act.
Psychology[edit]



Ludovico technique apparatus
Another critical target is the behaviourism or "behavioural psychology" propounded by psychologists John B. Watson and B. F. Skinner. Burgess disapproved of behaviourism, calling Skinner's book Beyond Freedom and Dignity (1971) "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.[9] 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". [10] Psychiatrist Aaron Stern, the former head of the MPAA rating board, believed that Alex represents man in his natural state, the unconscious mind. Alex becomes "civilised" after receiving his Ludovico "cure", and the sickness in the aftermath Stern considered to be the "neurosis imposed by society".[11] Kubrick stated to Philip Strick and Penelope Houston that he believed Alex "makes no attempt to deceive himself or the audience as to his total corruption or wickedness. 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."[12]
Production[edit]



Stanley Kubrick taking a break, waiting for the rain to stop, during filming of A Clockwork Orange
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-players costume he had. Kubrick asked him to put the jockstrap not under but on top of the costume.[citation needed]
During the filming of the Ludovico technique scene, McDowell scratched a cornea,[13] 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.[14] A unique special effect technique was used when Alex jumps out of the window in an attempt to commit suicide and the viewer sees the ground approaching the camera until collision, i.e., as if from Alex's point of view. This effect was achieved by dropping a Newman Sinclair clockwork camera in a box, lens-first, from the third story of the Corus Hotel. To Kubrick's surprise, the camera survived six takes.[citation needed]
Adaptation[edit]
The cinematic adaptation of A Clockwork Orange (1962) was accidental. 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." Kubrick wrote a screenplay faithful to the novel, saying, "I think whatever Burgess had to say about the story was said in the book, but I did invent a few useful narrative ideas and reshape some of the scenes."[15] Kubrick based the script on the shortened US edition of the book, which missed the final chapter (restored in 1986).
The novelist's response[edit]
Burgess had mixed feelings about the cinema version 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 1986 omitted the final chapter.
Burgess reports in his autobiography You've Had Your Time (1990) that he and Kubrick at first enjoyed a good relationship, each holding similar philosophical and political views and each very interested in literature, cinema, music, and Napoleon Bonaparte. Burgess's 1974 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 organizations and to defend it against newspaper accusations that it supported fascist dogma. He also went to receive awards given to Kubrick on his behalf.
Direction[edit]
Kubrick was a perfectionist of meticulous research, 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. So meticulous was Kubrick that McDowell stated "If Kubrick hadn't been a film director he'd have been a General Chief of Staff of the US Forces. No matter what it is—even if it's a question of buying a shampoo it goes through him. He just likes total control."[16] Filming took place between September 1970 and April 1971, making A Clockwork Orange the quickest film shoot in his career. Technically, to achieve and convey the fantastic, dream-like quality of the story, he filmed with extreme wide-angle lenses[17] such as the Kinoptik Tegea 9.8mm for 35mm Arriflex cameras,[18] and used fast- and slow motion to convey the mechanical nature of its bedroom sex scene or stylize the violence in a manner similar to Toshio Matsumoto's Funeral Parade of Roses (1969).[19]
Nature of the society[edit]
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 fascist 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. As Malcolm McDowell points out on the DVD commentary, Alex's residence was shot on failed Labour Party architecture, and the name "Municipal Flat Block 18A, Linear North" alludes to socialist-style housing. 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. Kubrick stated, "The Minister, played by Anthony Sharp, is clearly a figure of the Right. The writer, Patrick Magee, is a lunatic of the Left... They differ only in their dogma. Their means and ends are hardly distinguishable."[20]
Locations[edit]



 Thamesmead South Housing Estate where Alex knocks his rebellious droogs into the lake in a sudden surprise attack
A Clockwork Orange was photographed mostly on location in metropolitan London and within quick access of Kubrick's then home in Barnett Lane, Elstree.
Shooting began on 7 September 1970 with call sheet no. 1 at the Duke Of New York pub: an unused scene and unused location—the first of many. A few days later Alex's Ludovico treatment bedroom and the Serum 114 injection by Dr. Branom.
New Year's Eve starts with rehearsals on the 31st at the Korova Milk Bar and shooting finishes after four continuous days on 8 January.
The last scenes were shot in February 1971 ending with call sheet no. 113. The last main scene to be filmed is Alex's fight with Billy Boy's gang, taking six days to cover. A total of around 113 days over six months of fairly continuous shooting. As is normal practice, there was no attempt to shoot the script in chronological order.
The few scenes not shot on location were the Korova Milk Bar, the prison check-in area, Alex taking a bath at F. Alexander's house, and two corresponding scenes in the hallway. These sets were built at an old factory on Bullhead Road, Borehamwood, which also served as the production office. Seven call sheets are missing from the Stanley Kubrick Archive so some locations, such as the hallway, cannot be confirmed.
Otherwise, locations used in the film include:
The attack on the tramp was filmed at the (now renovated) southern pedestrian underpass below Wandsworth Bridge roundabout, Wandsworth, London.
The unused scene of the attack on the professor was shot in (now covered) Friars Square shopping centre in Aylesbury, Buckinghamshire, but dropped due to the actor dying. For the subsequent scene where the professor recognises Alex towards the latter part of the film, the tramp plays the character who recognises Alex.
The Billyboy gang fight occurs at the demolished Karsino hotel on Tagg's Island, Kingston upon Thames, Middlesex.
Alex's apartment is on the top floor of Canterbury House tower block, Borehamwood, Hertfordshire. An exterior blue plaque and mosaic at ground level commemorate the film's location.
The record shop where Alex picks up the two young women was in the basement of the former Chelsea Drugstore, located on the corner of Royal Avenue and King's Road in Chelsea. A McDonald's restaurant now occupies the building.
The Menacing Cars scene where the Durango '95 drives under the lorry trailer was shot by Colney Heath on Bullens Green Lane at the crossroads of Fellows Lane, Hertfordshire.
The writer's house, site of the rape and beating, was filmed at three different locations: The arrival in the "Durango 95" by the "HOME" sign was shot on the lane leading to Munden House which is off School Lane, Bricket Wood. The house's exterior and garden with the footbridge over the pond is Milton Grundy's Japanese garden in Shipton-under-Wychwood, Oxfordshire and the interior is Skybreak House, in The Warren, Radlett, Hertfordshire.
Alex throws Dim and Georgie into South Mere lake at Thamesmead South Housing Estate, London. This is 200 yards north of where Alex walks home at night through an elevated plaza (now demolished) kicking rubbish.
The "Duke Of New York" pub is the demolished "The Bottle and Dragon" pub (formerly "The Old Leather Bottle") in Stonegrove, Edgware, London.
The Cat Lady house where Alex is caught by police is Shenley Lodge, Rectory Lane, Shenley, Hertfordshire.
The prison's exterior is HMP Wandsworth, its interior is the Woolwich Barracks now demolished prison wing, Woolwich, London.
The chapel where Alex scrolls the lyrics as the prisoners sing is (building is probably demolished) at St. Edward's College, Totteridge Lane, North London. The same site where Alex signs consent for the Ludovico treatment in the prison governor's office (still standing).
The two biblical fantasy scenes (Christ, and the fight scene) were filmed at Dashwood Mausoleum, West Wycombe, Buckinghamshire.
The check-in at Ludovico Medical Clinic, the brain-washing film theatre, Alex's house lobby with the broken elevator, Alex's hospital bedroom and police interrogation/beating room (demolished) are all Brunel University, Uxbridge, Middlesex.
The Minister's presentation to the media of Alex's "cure" takes place at the Nettlefold Hall inside West Norwood Library, West Norwood, London.
Alex is attacked by vagrants underneath the north side of the Albert Bridge, Chelsea, London.
The scene where Dim and Georgie take Alex in the police Landrover down the country lane and subsequent water trough beating is School Lane, Bricket Wood, Hertfordshire.
Alex's suicide bid leap and corresponding billiard room were at the old Edgewarebury Country Club, Barnett Lane, Elstree, Hertfordshire.
The hospital where Alex recovers is Princess Alexandra Hospital (Harlow), Essex.
The final sexual fantasy was shot at the demolished Handley Page Ltd's hangars, Radlett, Hertfordshire.
Music[edit]
Main article: A Clockwork Orange (soundtrack)
In spite of Alex's obsession with Beethoven, the soundtrack contains more music by Rossini than by Beethoven. The fast-motion sex scene with the two girls, the slow-motion fight between Alex and his Droogs, the fight with Billy Boy's gang, the invasion of the Cat Lady's home, and the scene where Alex looks into the river and contemplates suicide before being approached by the beggar are all accompanied by Rossini's music.[21][22]
Reception[edit]
Despite the film's controversial nature, A Clockwork Orange was a hit with American audiences, grossing more than $26 million on a conservative budget of $2.2 million, was critically acclaimed, and was nominated for several awards, including the Academy Award for Best Picture (losing to The French Connection). It also boosted sales of Beethoven's Ninth Symphony. As of 2015, A Clockwork Orange holds an 89% "Certified Fresh" rating among critics on Rotten Tomatoes.[23]
The film is ranked highly in many polls. It is ranked 46th in the AFI's 100 Years... 100 Movies and 70th in the AFI's 100 Years... 100 Movies (10th Anniversary Edition). In Sight & Sound's 2012 poll, A Clockwork Orange was ranked 75th greatest film of all time in the directors poll and 235th in the critics poll.[24]
Vincent Canby of The New York Times praised the film saying "McDowell is splendid as tomorrow's child, but it is always Mr. Kubrick's picture, which is even technically more interesting than "2001." Among other devices, Mr. Kubrick constantly uses what I assume to be a wide-angle lens to distort space relationships within scenes, so that the disconnection between lives, and between people and environment, becomes an actual, literal fact."[25]
Despite general praise from critics, the film had notable detractors. Film critic Stanley Kauffmann commented, "Inexplicably, the script leaves out Burgess' reference to the title".[26] Roger Ebert gave A Clockwork Orange two stars out of four, calling it an "ideological mess."[27] In the New Yorker review titled "Stanley Strangelove", Pauline Kael called it pornographic because of how it dehumanized Alex's victims while highlighting the sufferings of the protagonist. Kael derided Kubrick as a "bad pornographer", noting the Billyboy's gang extended stripping of the very buxom woman they intended to rape, claiming it was offered for titillation.[28]
John Simon noted that the novel's most ambitious effects were based on language and the alienating effect of the narrator's Nadsat slang, making it a poor choice for a film. Concurring with some of Kael's criticisms about the depiction of Alex's victims, Simon noted that the writer character (young and likeable in the novel) was played by Patrick Magee, "a very quirky and middle-aged actor who specialises in being repellent". Simon comments further that "Kubrick over-directs the basically excessive Magee until his eyes erupt like missiles from their silos and his face turns every shade of a Technicolor sunset."
The film was re-released in North America in 1973 and earned $1.5 million in rentals.[29]
Responses and controversy[edit]
Along with Bonnie and Clyde (1967), The Wild Bunch (1969), Dirty Harry (1971), and Straw Dogs (1971), the film is considered a landmark in the relaxation of control on violence in the cinema.[30] In the United Kingdom, A Clockwork Orange was very controversial and withdrawn from release by Kubrick himself.[31] It is 21st in the AFI's 100 Years... 100 Thrills and number 46 in the AFI's 100 Years... 100 Movies, although in the second listing, it is ranked 70th of 100. "Alex De Large" is listed 12th in the villains section of the AFI's 100 Years... 100 Heroes and Villains. In 2008, the AFI's 10 Top 10 rated A Clockwork Orange as the 4th greatest science-fiction movie to date. In 2010, TIME placed it 9th on their list of the Top 10 Ridiculously Violent Movies.[32] In 2008, Empire ranked it 37th on their list of "The 500 Greatest Movies of All Time.", and in 2013, Empire ranked it 11th on their list of "The 100 Best British Films Ever".[33] Spanish auteur Luis Buñuel was highly praising of the film. He once said: "A Clockwork Orange is my current favourite. I was predisposed against the film. After seeing it, I realised it is only a movie about what the modern world really means".[12]
American Film Institute recognition1998: AFI's 100 Years...100 Movies – #46[34]
2001: AFI's 100 Years...100 Thrills – #21[35]
2003: AFI's 100 Years...100 Heroes & Villains: Alex De Large – #12 Villain[36]
2007: AFI's 100 Years...100 Movies (10th Anniversary Edition) – #70[37]
2008: AFI's 10 Top 10 – #4 Science Fiction Film[38]
American version[edit]
In the United States, A Clockwork Orange was rated X in its original release. Later, Kubrick voluntarily replaced approximately 30 seconds of sexually explicit footage from two scenes with less explicit action for an R rating re-release in 1973. Current DVDs present the original edit (reclassified with an "R" rating), and only some of the early 1980s VHS editions are the edited version.[39][40]
Because of the explicit sex and violence, The National Catholic Office for Motion Pictures rated it C ("Condemned"), a rating which forbade Roman Catholics seeing the film. In 1982, the Office abolished the "Condemned" rating. Subsequently, films deemed to have unacceptable levels of sex and violence by the Conference of Bishops are rated O, "Morally Offensive".[41]
British withdrawal[edit]
Although passed uncut for UK cinemas in December 1971, British authorities considered the sexual violence in the film to be extreme. In March 1972, during the trial of a fourteen-year-old male accused of the manslaughter of a classmate, the prosecutor referred to A Clockwork Orange, suggesting that the film had a macabre relevance to the case.[42] The film was also linked to the murder of an elderly vagrant by a 16-year-old boy in Bletchley, Buckinghamshire, who pleaded guilty after telling police that friends had told him of the film "and the beating up of an old boy like this one." Roger Gray QC, for the defence, told the court that "the link between this crime and sensational literature, particularly A Clockwork Orange, is established beyond reasonable doubt".[43] The press also blamed the film for a rape in which the attackers sang "Singin' in the Rain" as "Singin' in the Rape".[44] Christiane Kubrick, the director's wife, has said that the family received threats and had protesters outside their home.[45] Subsequently, Kubrick asked Warner Brothers to withdraw the film from British distribution. In response to allegations that the film was responsible for copycat violence Kubrick stated: "To try and fasten any responsibility on art as the cause of life seems to me to put the case the wrong way around. Art consists of reshaping life, but it does not create life, nor cause life. Furthermore, to attribute powerful suggestive qualities to a film is at odds with the scientifically accepted view that, even after deep hypnosis in a posthypnotic state, people cannot be made to do things which are at odds with their natures."[46] The Scala Cinema Club went into receivership in 1993 after losing a legal battle following an unauthorized screening of the film.[47]
Whatever the reason for the withdrawal, it was difficult to see A Clockwork Orange in the United Kingdom for 27 years. It was only after Kubrick's death in 1999 that the film reappeared in cinemas and was released on VHS and DVD. On July 4, 2001, the uncut version premiered on Sky TV's Sky Box Office, where it ran until mid-September.
Withdrawal controversy documentary[edit]
In 1993, Channel 4 broadcast Forbidden Fruit, a 27-minute documentary about the controversial withdrawal of the film in Britain.[48] It contains much footage from A Clockwork Orange, marking the only time portions of the film were shown to British audiences during the 27-year ban.
Accolades[edit]
Won[edit]
Hugo Awards 1972 Best Dramatic Presentation
1971 New York Film Critics Circle Awards Best Director – Stanley Kubrick
Best Film
33rd Venice International Film Festival Pasinetti Award (it)
Silver Ribbon (Nastro d'Argento) 1973 for Best Foreign Director - Stanley Kubrick (awarded by the Italian National Syndicate of Film Journalists)
Nominated[edit]
44th Academy Awards Best Director – Stanley Kubrick
Best Film Editing – Bill Butler
Best Picture – Stanley Kubrick (Producer)
Best Adapted Screenplay – Stanley Kubrick
26th BAFTA Awards Best Art Direction – John Barry
Best Cinematography – John Alcott
Best Direction – Stanley Kubrick
Best Film
Best Film Editing – Bill Butler
Best Screenplay – Stanley Kubrick
Best Sound Track – Brian Blamey, John Jordan, Bill Rowe
24th Directors Guild of America Awards Outstanding Directorial Achievement in Motion Pictures – Stanley Kubrick
29th Golden Globe Awards[49] Best Director: Motion Picture – Stanley Kubrick
Best Motion Picture – Drama
Best Motion Picture Actor: Drama – Malcolm McDowell
Writers Guild of America Awards 1972 Best Drama Adapted from Another Medium – Stanley Kubrick

Differences between the film and the novel[edit]
Kubrick's film is relatively faithful to the Burgess novel, omitting only the final, positive chapter, wherein Alex matures and outgrows sociopathy. Whereas the film ends with Alex offered an open-ended government job — implying he remains a sociopath at heart — the novel ends with Alex's positive change in character. This plot discrepancy occurred because Kubrick based his screenplay upon the novel's American edition, its final chapter deleted on insistence of the American publisher.[50] He claimed not to have read the complete, original version of the novel until he had almost finished writing the screenplay, and that he never considered using it. The introduction to the 1996 edition of A Clockwork Orange, says that Kubrick found the end of the original edition too blandly optimistic and unrealistic.
In the novel, Alex's last name was never revealed, while in the film, his surname is 'DeLarge', due to Alex's calling himself "Alexander the Large" in the novel.
At the beginning of the novel, Alex is a 15-year-old juvenile delinquent. In the film, to minimize controversy, Alex is portrayed as somewhat older, around 17 or 18.
Critic Randy Rasmussen has argued that the government in the film is in considerable shambles and in a state of desperation while the government in the novel is quite strong and self-confident. The former reflects Kubrick's preoccupation with the theme of acts of self-interest masked as simply following procedure.[51]
 One example of this would be differences in the portrayal of P.R. Deltoid, Alex's "post-corrective advisor". In the novel, P.R. Deltoid appears to have some moral authority (although not enough to prevent Alex from lying to him or engaging in crime, despite his protests). In the film, Deltoid is slightly sadistic and seems to have a sexual interest in Alex, interviewing him in his parents' bedroom and smacking him in the crotch.
In the film, Alex has a pet snake. There is no mention of this in the novel.[52]
In the novel, F. Alexander recognises Alex through a number of careless references to the previous attack (e.g., his wife then claiming they did not have a telephone). In the film, Alex is recognised when singing the song 'Singing in the Rain' in the bath, which he had hauntingly done while attacking F. Alexander's wife. The song does not appear at all in the book, as it was an improvisation by actor Malcolm McDowell when Kubrick complained that the rape scene was too "stiff".[53]
In the novel, Alex is offered up for treatment after killing a fellow inmate who was sexually harassing him. In the film, this scene was cut out and, instead of Alex practically volunteering for the procedure, he was simply selected by the head of the government due to speaking out of turn.
In the novel, Alex drugs and rapes two ten-year-old girls. In the film, the girls are young adults that seem to have consensual, playful sex with him, with no suggestion of using any drugs and without any violence.
In the novel, the writer was working on a manuscript called A Clockwork Orange when Alex and his gang are breaking into his house. In the movie, the title of the manuscript is not visible, leaving no literal reference to the title of the movie. Some explanations of the title are offered in the Analysis section of the novel.
Early in the film, Alex and his droogs brutally attack a drunk, homeless man. Later, when Alex is returned to society, he is recognised by the same man. The homeless man gathers several other homeless men to beat Alex, who is unable to defend himself. These scenes do not appear in the book, but there is a similar scene in which an elderly man heading home from the library is beaten and his books destroyed by the droogs. After Alex is returned to society, he decides he wants to kill himself and goes to a library to find a book on how to do it. There, he is recognized by the man he had beaten and is attacked by him and a gang of other old library patrons.
Alex is beaten nearly to death by the police after his rehabilitation. In the film, the policemen are his former droogs, Dim and Georgie. In the book, instead of Georgie, who was said to have been killed, the second officer is Billy Boy, the leader of the opposing gang that Alex and his droogs fought earlier, both in the movie and the book. This is a significant difference because Dim and Georgie had only been mocked and humiliated by Alex before his treatment and Billy Boy had nearly been killed, which implies the beating that Alex received from him was probably much more savage and hateful.
In the novel, Alex is accidentally conditioned against all music, but in the film he is only conditioned against Beethoven's 9th Symphony.
Home media[edit]
In 2000, the film was released on VHS and DVD, both individually and as part of The Stanley Kubrick Collection DVD set. Consequent to negative comments from fans, Warner Bros re-released the film, its image digitally restored and its soundtrack remastered. A limited-edition collector's set with a soundtrack disc, film poster, booklet and film strip followed, but later was discontinued. In 2005, a British re-release, packaged as an "Iconic Film" in a limited-edition slipcase was published, identical to the remastered DVD set, except for different package cover art. In 2006, Warner Bros announced the September publication of a two-disc special edition featuring a Malcolm McDowell commentary, and the releases of other two-disc sets of Stanley Kubrick films. Several British retailers had set the release date as 6 November 2006; the release was delayed and re-announced for 2007 Holiday Season.
An HD DVD, Blu-ray, and DVD re-release version of the film was released on October 23, 2007. The release accompanies four other Kubrick classics. 1080p video transfers and remixed Dolby TrueHD 5.1 (for HD DVD) and uncompressed 5.1 PCM (for Blu-ray) audio tracks are on both the Blu-ray and HD DVD editions. Unlike the previous version, the DVD re-release edition is anamorphically enhanced. The Blu-ray was reissued for the 40th anniversary of the film's release, identical to the previously released Blu-ray, apart from adding a Digibook and the Stanley Kubrick: A Life in Pictures documentary as a bonus feature.
In popular culture[edit]
Main article: List of cultural references to A Clockwork Orange
The film's themes and visual characteristics have been referenced in popular culture, including music, television, film, sports, magazines and video games.[54]
See also[edit]

Portal icon Film portal
Portal icon Speculative fiction portal
Portal icon 1970s portal
List of films featuring home invasions
List of stories set in a future now past
Aestheticisation of violence

Notes and References[edit]
Notes[edit]

References[edit]
1.Jump up ^ "A CLOCKWORK ORANGE". British Board of Film Classification. Retrieved 5 October 2013.
2.Jump up ^ "A Clockwork Orange (1971)". British Film Institute. Retrieved 20 September 2014.
3.^ Jump up to: a b "A Clockwork Orange (1972)". Box Office Mojo. Retrieved 21 September 2014.
4.Jump up ^ McDougal, Stuart Y. (7 July 2003). Stanley Kubrick's A Clockwork Orange. Cambridge University Press. p. 158. Retrieved 4 June 2014.
5.Jump up ^ "Should We Cure Bad Behavior?". Reason. 2005-06-01.
6.Jump up ^ Saturday Review, December 25, 1971
7.Jump up ^ "Books of The Times". The New York Times. 1963-03-19.
8.Jump up ^ "A Clockwork Orange". Collativelearning.com.
9.Jump up ^ Theodore Dalrymple (January 1, 2006). "A Prophetic and Violent Masterpiece". City Journal. Retrieved 2011-03-13.
10.Jump up ^ Duncan 2003, p. 142.
11.Jump up ^ Duncan 2003, p. 128.
12.^ Jump up to: a b Duncan 2003, p. 129.
13.Jump up ^ "Art Adams interview". "The Mutant Report." Volume 3. Marvel Age #71 (February 1989). Marvel Comics. pp. 12–15.
14.Jump up ^ "Misc". Worldtv.com. Retrieved 2011-03-13.
15.Jump up ^ "The Kubrick Site: The ACO Controversy in the UK". Visual-memory.co.uk. Retrieved 2011-03-13.
16.Jump up ^ Baxter 1997, pp. 6-7.
17.Jump up ^ "A Clockwork Orange". Chicago Sun-Times. 11 February 1972.
18.Jump up ^ "A Clockwork Orange". Chalkthefilm.com. Retrieved 2011-03-13.
19.Jump up ^ "Similarities – Funeral Parade of Roses and A Clockwork Orange « Recca's Blog". Reccaphoenix.wordpress.com. 2008-04-20. Retrieved 2011-03-13.
20.Jump up ^ Ciment 1982. Online at: Kubrick on A Clockwork Orange: An interview with Michel Ciment
21.Jump up ^ Stanley Kubrick's A Clockwork Orange edited by Stuart Y. McDougal. Cambridge University Press, 2003. P. 123.
22.Jump up ^ http://www.csmonitor.com/Innovation/2012/0229/You-ve-heard-Gioachino-Rossini-s-music-even-if-you-ve-never-heard-of-him/The-Thieving-Magpie
23.Jump up ^ "A Clockwork Orange Movie Reviews". Rotten Tomatoes. Retrieved 2010-01-16.
24.Jump up ^ "A Clockwork Orange".
25.Jump up ^ Canby, Vincent (December 20, 1971). "A Clockwork Orange (1971) 'A Clockwork Orange' Dazzles the Senses and Mind". The New York Times.
26.Jump up ^ Quote in John Walker, Halliwell's Film, Video & DVD Guide 2006, page 223 (HarperCollins, 2005). ISBN 0-00-720550-3
27.Jump up ^ Ebert, R: "A Clockwork Orange," Chicago Sun-Times, 11 February 1972
28.Jump up ^ The Kubrick Site: Pauline Kael on 'A Clockwork Orange'
29.Jump up ^ "Big Rental Films of 1973", Variety, 9 January 1974, p. 60
30.Jump up ^ Ian MacDonald, Revolution in the Head, Pimlico, p.235
31.Jump up ^ http://www.theguardian.com/film/2000/mar/03/fiction
32.Jump up ^ "Top 10 Ridiculously Violent Movies". Time. 3 September 2010. Retrieved 17 February 2013.
33.Jump up ^ "The 100 Best British Films Ever". Empire. Retrieved 5 January 2013
34.Jump up ^ "AFI's 100 Years...100 Movies". American Film Institute. Retrieved 14 January 2015.
35.Jump up ^ "AFI's 100 Years...100 Thrills". American Film Institute. Retrieved 14 January 2015.
36.Jump up ^ "AFI's 100 Years...100 Heroes & Villains". American Film Institute. Retrieved 14 January 2015.
37.Jump up ^ "AFI's 100 Years...100 Movies (10th Anniversary Edition)". American Film Institute. Retrieved 14 January 2015.
38.Jump up ^ "AFI's 10 Top 10: Top 10 Sci-Fi". American Film Institute. Retrieved 14 January 2015.
39.Jump up ^ "Article discussing the edits, with photographs". geocities.com. Archived from the original on 2009-10-23.
40.Jump up ^ "Kubrick Film Ratings Comparisons" – actual clips, in both "X" and "R" edits.
41.Jump up ^ Gillis, Chester (1999). Roman Catholicism in America. United States of America: Columbia University Press. p. 226. ISBN 0-231-10870-2.
42.Jump up ^ "Serious pockets of violence at London school, QC says", The Times, 21 March 1972.
43.Jump up ^ " 'Clockwork Orange' link with boy's crime", The Times, 4 July 1973.
44.Jump up ^ "A Clockwork Orange: Context". SparkNotes. 1999-03-07. Archived from the original on 14 February 2011. Retrieved 2011-03-13.
45.Jump up ^ Barnes, Henry; Brooks, Xan (2011-05-20). "Cannes 2011: Re-winding A Clockwork Orange with Malcolm McDowell – video". London: Guardian News and Media Limited. Archived from the original on 21 May 2011. Retrieved 2011-05-21.
46.Jump up ^ Paul Duncan, Stanley Kubrick: The Complete Films, page 136 (Taschen GmbH, 2003) ISBN 3-8228-1592-6
47.Jump up ^ "Scala's History". scala-london.co.uk. Archived from the original on 24 October 2007. Retrieved 2007-11-12.
48.Jump up ^ "Without Walls: Forbidden Fruit (1993) A Clockwork Orange BBC Special – Steven Berkoff". Archived from the original on 2009-10-23.
49.Jump up ^ HFPA - Awards Search
50.Jump up ^ "The Kubrick FAQ Part 2". visual-memory.co.uk.
51.Jump up ^ Kubrick: Seven Films Analyzed by Randy Rasmussen, p. 112
52.Jump up ^ Stanley Kubrick by John Baxter, p. 255
53.Jump up ^ Stanley Kubrick by Vincent Lobrutto pp. 365–6 and Stanley Kubrick, director by Alexander Walker, Sybil Taylor, Ulrich Ruchti, p. 204
54.Jump up ^ Melanya Burrows (2005-01-28). "Addicted to Droogs". The New Zealand Herald. Retrieved 2007-08-14.
BibliographyBaxter, John (1997). Stanley Kubrick: A Biography. HarperCollins. ISBN 978-0-00-638445-8.
Duncan, Paul (2003). Stanley Kubrick: The Complete Films. Taschen GmbH. ISBN 978-3836527750.
Further reading[edit]
Burgess, Anthony (2000). Stanley Kubrick's a Clockwork Orange: Based on the Novel by Anthony Burgess. ScreenPress Books. ISBN 978-1-901680-47-8.
Duncan, Paul (2003). Stanley Kubrick: The Complete Films. Taschen GmbH. ISBN 978-3836527750.
Heide, Thomas von der (1 June 2006). A Clockwork Orange - The presentation and the impact of violence in the novel and in the film. GRIN Verlag. ISBN 978-3-638-50681-6.
McDougal, Stuart Y. (7 July 2003). Stanley Kubrick's A Clockwork Orange. Cambridge University Press. ISBN 978-0-521-57488-4.
Volkmann, Maren (16 October 2006). "A Clockwork Orange" in the Context of Subculture. GRIN Verlag. ISBN 978-3-638-55498-5.
External links[edit]
 Wikimedia Commons has media related to A Clockwork Orange (film).
 Wikiquote has quotations related to: A Clockwork Orange (film)
Official website of Stanley Kubrick at Warner Bros.
A Clockwork Orange at the Internet Movie Database
A Clockwork Orange at Box Office Mojo
A Clockwork Orange at Rotten Tomatoes
A Clockwork Orange at Metacritic
A Clockwork Orange at Discogs (list of releases)
A Clockwork Orange at SparkNotes
"One on One with Malcolm McDowell" from HoboTrashcan.com (in which the actor discusses the film and its staying power)


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A Clockwork Orange (film)
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A Clockwork Orange
Clockwork orangeA.jpg
Theatrical release poster by Bill Gold

Directed by
Stanley Kubrick
Produced by
Stanley Kubrick
Screenplay by
Stanley Kubrick
Based on
A Clockwork Orange
 by Anthony Burgess
Starring
Malcolm McDowell
Patrick Magee
Adrienne Corri
Miriam Karlin

Music by
Walter Carlos
Cinematography
John Alcott
Edited by
Bill Butler

Production
 companies

Polaris Productions
Hawk Films

Distributed by
Warner Bros. (United States)
Columbia-Warner Distributors (United Kingdom)


Release dates

19 December 1971 (New York City)
13 January 1972 (United Kingdom)
2 February 1972 (United States)


Running time
 136 minutes[1]
Country
United Kingdom
United States[2]

Language
English
Nadsat

Budget
$2.2 million[3]
Box office
$26.6 million (North America)[3]
A Clockwork Orange is a 1971 dystopian crime film adapted, produced, and directed by Stanley Kubrick, based on Anthony Burgess's 1962 novella A Clockwork Orange. It employs disturbing, violent images to comment on psychiatry, juvenile delinquency, youth gangs, and other social, political, and economic subjects in a dystopian near-future Britain.
Alex (Malcolm McDowell), the main character, is a charismatic, sociopathic delinquent whose interests include classical music (especially Beethoven), rape, and what is termed "ultra-violence." He leads a small gang of thugs (Pete, Georgie, and Dim), whom he calls his droogs (from the Russian друг, "friend," "buddy"). The film chronicles the horrific crime spree of his gang, his capture, and attempted rehabilitation via controversial psychological conditioning. Alex narrates most of the film in Nadsat, a fractured adolescent slang composed of Slavic (especially Russian), English, and Cockney rhyming slang.
The soundtrack to A Clockwork Orange features mostly classical music selections and Moog synthesizer compositions by Wendy Carlos (then known as Walter Carlos). The artwork of the now-iconic poster of A Clockwork Orange was created by Philip Castle with the layout by designer Bill Gold.


Contents  [hide]
1 Plot
2 Cast
3 Themes 3.1 Morality
3.2 Psychology
4 Production 4.1 Adaptation 4.1.1 The novelist's response
4.2 Direction
4.3 Nature of the society
4.4 Locations
4.5 Music
5 Reception 5.1 Responses and controversy 5.1.1 American version
5.1.2 British withdrawal 5.1.2.1 Withdrawal controversy documentary

5.2 Accolades 5.2.1 Won
5.2.2 Nominated

6 Differences between the film and the novel
7 Home media
8 In popular culture
9 See also
10 Notes and References 10.1 Notes
10.2 References
11 Further reading
12 External links

Plot[edit]
In futuristic London, Alex DeLarge is the leader of his "droogs," Georgie, Dim, and Pete. One night, after getting intoxicated on "milk plus" (milk laced with drugs), they engage in an evening of "ultra-violence," including beating an elderly vagrant and fighting a rival gang led by Billyboy. Stealing a car, they drive to the country home of writer F. Alexander, where they beat Mr. Alexander to the point of crippling him for life. Alex then rapes his wife while singing "Singin' in the Rain."
The next day, while truant from school, Alex is approached by probation officer Mr. P. R. Deltoid, who is aware of Alex's activities and cautions him. In response, Alex visits a record store where he picks up two girls, Sonietta and Marty. He takes them home and has sex with them.
That night, his droogs express discontent with Alex's petty crimes, demanding more equality and more high-yield thefts. Alex reasserts his leadership by attacking them. Later Alex invades the mansion of a wealthy "cat-lady," while his droogs remain at the front door. Alex bludgeons the woman with a phallic statue. Hearing police sirens, Alex tries to run away, but Dim smashes a pint bottle of milk across his face, leaving him stunned and bleeding. Alex is captured and beaten by the police. A gloating Deltoid spits in his face after he informs him that the woman died in the hospital, making him a murderer. Alex is sentenced to 14 years in prison.
Two years into the sentence, the Minister of the Interior arrives at the prison looking for test subjects for the Ludovico technique, an experimental aversion therapy for rehabilitating criminals within two weeks; Alex readily volunteers. The process involves drugging the subject, strapping him to a chair, propping his eyelids open, and forcing him to watch images of violence. Alex becomes nauseated due to the drugs. He realizes that one of the films' soundtracks is by his favourite composer, Ludwig van Beethoven, and that the Ludovico technique will make him sick when he hears the music he loves. He begs the doctors to end the treatment, but they ignore his pleas.
After two weeks of the Ludovico technique, the Minister of the Interior puts on a demonstration to prove that Alex is "cured". He is shown to be incapable of fighting back against an actor who insults and attacks him, and he becomes violently ill at the sight of a topless woman. The prison chaplain protests at the results, feeling that Alex has been robbed of his God-given freewill: "He ceases to be a wrongdoer. He ceases also to be a creature capable of moral choice." The prison governor asserts that they are not interested in the higher ethics but only with "cutting down crime and relieving the ghastly congestion in our prisons."
Alex is released and finds that his possessions have been confiscated by the police to help make restitution to his victims, and that his parents have rented out his room. Homeless, Alex encounters the elderly vagrant from before, who attacks him with several other friends. Alex is saved by two policemen who turn out to be Dim and Georgie. They drag Alex to the countryside, where they beat and nearly drown him. The dazed Alex wanders the countryside before coming to the home of the writer Mr. Alexander, who is now paralyzed. Alex collapses, then wakes up to find himself being cared for by Alexander and his manservant, Julian. Mr. Alexander, who does not recognize Alex as his attacker, has read about his treatment in the newspapers. Seeing Alex as a political weapon to attack the government, Mr. Alexander prepares to introduce Alex to his colleagues, but then he hears Alex singing "Singin' in the Rain" in the bath, and identifies Alex as the attacker who crippled him and raped his wife. With his colleagues' help, Alexander drugs Alex and places him in a locked upstairs bedroom. Alex wakes to hear Beethoven's Ninth Symphony playing loudly through the floor below. Experiencing excruciating pain, he tries to commit suicide by jumping from the window and is knocked unconscious by the fall.
Alex wakes up in a hospital with broken bones. While being given a series of psychological tests, Alex finds that he no longer has an aversion to violence or to sex. The Minister of the Interior arrives and apologizes to Alex. He offers to take care of Alex and get him a job in return for cooperation with his election campaign and PR counter-offensive. As a sign of goodwill, the Minister brings in a stereo system playing Beethoven's Ninth. Alex then contemplates violence and vivid thoughts of himself having sex in the snow with a woman in front of an approving crowd: "I was cured, all right!"
Cast[edit]
Malcolm McDowell as Alex DeLarge
Patrick Magee as Mr. Frank Alexander
Michael Bates as Chief Guard Barnes
Warren Clarke as Dim
John Clive as Stage Actor
Adrienne Corri as Mrs. Mary Alexander
Carl Duering as Dr. Brodsky
Paul Farrell as Tramp
Clive Francis as Joe the Lodger
Michael Gover as Prison Governor
Miriam Karlin as Cat Lady
James Marcus as Georgie
Aubrey Morris as P. R. Deltoid
Godfrey Quigley as Prison Chaplain
Sheila Raynor as Mum
Madge Ryan as Dr. Branom
John Savident as Conspirator
Anthony Sharp as Frederick, Minister of the Interior
Philip Stone as Dad
Pauline Taylor as Dr. Taylor, psychiatrist
Margaret Tyzack as Conspirator Rubinstein
Steven Berkoff as Detective Constable Tom
Lindsay Campbell as Police Inspector
Michael Tarn as Pete
David Prowse as Julian, Mr. Alexander's bodyguard
Jan Adair, Vivienne Chandler and Prudence Dage as handmaidens
Peter Burton as Junior Minister
John J. Carney as Detective Sergeant
Richard Connaught as Billyboy, Gang Leader
Carol Drinkwater as Nurse Feeley
Cheryl Grunwald as Rape Victim in Film
Gillian Hills as Sonietta
Virginia Wetherell as Stage Actress
Katya Wyeth as Girl in Ascot Fantasy
Barrie Cookson
Lee Fox as Desk Sergeant
Craig Hunter as Doctor
Shirley Jaffe
Neil Wilson as Prison Check-in Officer
Pat Roach as Milkbar Bouncer
[4]
Themes[edit]
Morality[edit]
The film's central moral question (as in many of Burgess' books) is the definition of "goodness" and whether it makes sense to use aversion therapy to stop immoral behaviour.[5] Stanley Kubrick, writing in Saturday Review, described the film as:

"...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."[6]
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."
After aversion therapy, Alex behaves like a good member of society, but not by choice. His goodness is involuntary; he has become the titular clockwork orange — organic on the outside, mechanical on the inside. In the prison, after witnessing the Technique in action on Alex, the chaplain criticises it 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 for their purely political ends.[7] The story critically portrays the "conservative" and "liberal" parties as equal, for using Alex as a means to their political ends: the writer Frank Alexander — a victim of Alex and gang — wants revenge against Alex and sees him as a means of definitively turning the populace against the incumbent government and its new regime. Mr. Alexander fears the new government; in telephonic 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 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.
It has been noted that Alex's immorality is reflected in the society in which he lives.[8] The Cat Lady's love of hardcore pornographic art is comparable to Alex's taste for sex and violence. Lighter forms of pornographic content adorn Alex's parents' home and, in a later scene, Alex awakens in hospital from his coma, interrupting a nurse and doctor engaged in a sexual act.
Psychology[edit]



Ludovico technique apparatus
Another critical target is the behaviourism or "behavioural psychology" propounded by psychologists John B. Watson and B. F. Skinner. Burgess disapproved of behaviourism, calling Skinner's book Beyond Freedom and Dignity (1971) "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.[9] 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". [10] Psychiatrist Aaron Stern, the former head of the MPAA rating board, believed that Alex represents man in his natural state, the unconscious mind. Alex becomes "civilised" after receiving his Ludovico "cure", and the sickness in the aftermath Stern considered to be the "neurosis imposed by society".[11] Kubrick stated to Philip Strick and Penelope Houston that he believed Alex "makes no attempt to deceive himself or the audience as to his total corruption or wickedness. 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."[12]
Production[edit]



Stanley Kubrick taking a break, waiting for the rain to stop, during filming of A Clockwork Orange
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-players costume he had. Kubrick asked him to put the jockstrap not under but on top of the costume.[citation needed]
During the filming of the Ludovico technique scene, McDowell scratched a cornea,[13] 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.[14] A unique special effect technique was used when Alex jumps out of the window in an attempt to commit suicide and the viewer sees the ground approaching the camera until collision, i.e., as if from Alex's point of view. This effect was achieved by dropping a Newman Sinclair clockwork camera in a box, lens-first, from the third story of the Corus Hotel. To Kubrick's surprise, the camera survived six takes.[citation needed]
Adaptation[edit]
The cinematic adaptation of A Clockwork Orange (1962) was accidental. 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." Kubrick wrote a screenplay faithful to the novel, saying, "I think whatever Burgess had to say about the story was said in the book, but I did invent a few useful narrative ideas and reshape some of the scenes."[15] Kubrick based the script on the shortened US edition of the book, which missed the final chapter (restored in 1986).
The novelist's response[edit]
Burgess had mixed feelings about the cinema version 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 1986 omitted the final chapter.
Burgess reports in his autobiography You've Had Your Time (1990) that he and Kubrick at first enjoyed a good relationship, each holding similar philosophical and political views and each very interested in literature, cinema, music, and Napoleon Bonaparte. Burgess's 1974 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 organizations and to defend it against newspaper accusations that it supported fascist dogma. He also went to receive awards given to Kubrick on his behalf.
Direction[edit]
Kubrick was a perfectionist of meticulous research, 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. So meticulous was Kubrick that McDowell stated "If Kubrick hadn't been a film director he'd have been a General Chief of Staff of the US Forces. No matter what it is—even if it's a question of buying a shampoo it goes through him. He just likes total control."[16] Filming took place between September 1970 and April 1971, making A Clockwork Orange the quickest film shoot in his career. Technically, to achieve and convey the fantastic, dream-like quality of the story, he filmed with extreme wide-angle lenses[17] such as the Kinoptik Tegea 9.8mm for 35mm Arriflex cameras,[18] and used fast- and slow motion to convey the mechanical nature of its bedroom sex scene or stylize the violence in a manner similar to Toshio Matsumoto's Funeral Parade of Roses (1969).[19]
Nature of the society[edit]
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 fascist 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. As Malcolm McDowell points out on the DVD commentary, Alex's residence was shot on failed Labour Party architecture, and the name "Municipal Flat Block 18A, Linear North" alludes to socialist-style housing. 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. Kubrick stated, "The Minister, played by Anthony Sharp, is clearly a figure of the Right. The writer, Patrick Magee, is a lunatic of the Left... They differ only in their dogma. Their means and ends are hardly distinguishable."[20]
Locations[edit]



 Thamesmead South Housing Estate where Alex knocks his rebellious droogs into the lake in a sudden surprise attack
A Clockwork Orange was photographed mostly on location in metropolitan London and within quick access of Kubrick's then home in Barnett Lane, Elstree.
Shooting began on 7 September 1970 with call sheet no. 1 at the Duke Of New York pub: an unused scene and unused location—the first of many. A few days later Alex's Ludovico treatment bedroom and the Serum 114 injection by Dr. Branom.
New Year's Eve starts with rehearsals on the 31st at the Korova Milk Bar and shooting finishes after four continuous days on 8 January.
The last scenes were shot in February 1971 ending with call sheet no. 113. The last main scene to be filmed is Alex's fight with Billy Boy's gang, taking six days to cover. A total of around 113 days over six months of fairly continuous shooting. As is normal practice, there was no attempt to shoot the script in chronological order.
The few scenes not shot on location were the Korova Milk Bar, the prison check-in area, Alex taking a bath at F. Alexander's house, and two corresponding scenes in the hallway. These sets were built at an old factory on Bullhead Road, Borehamwood, which also served as the production office. Seven call sheets are missing from the Stanley Kubrick Archive so some locations, such as the hallway, cannot be confirmed.
Otherwise, locations used in the film include:
The attack on the tramp was filmed at the (now renovated) southern pedestrian underpass below Wandsworth Bridge roundabout, Wandsworth, London.
The unused scene of the attack on the professor was shot in (now covered) Friars Square shopping centre in Aylesbury, Buckinghamshire, but dropped due to the actor dying. For the subsequent scene where the professor recognises Alex towards the latter part of the film, the tramp plays the character who recognises Alex.
The Billyboy gang fight occurs at the demolished Karsino hotel on Tagg's Island, Kingston upon Thames, Middlesex.
Alex's apartment is on the top floor of Canterbury House tower block, Borehamwood, Hertfordshire. An exterior blue plaque and mosaic at ground level commemorate the film's location.
The record shop where Alex picks up the two young women was in the basement of the former Chelsea Drugstore, located on the corner of Royal Avenue and King's Road in Chelsea. A McDonald's restaurant now occupies the building.
The Menacing Cars scene where the Durango '95 drives under the lorry trailer was shot by Colney Heath on Bullens Green Lane at the crossroads of Fellows Lane, Hertfordshire.
The writer's house, site of the rape and beating, was filmed at three different locations: The arrival in the "Durango 95" by the "HOME" sign was shot on the lane leading to Munden House which is off School Lane, Bricket Wood. The house's exterior and garden with the footbridge over the pond is Milton Grundy's Japanese garden in Shipton-under-Wychwood, Oxfordshire and the interior is Skybreak House, in The Warren, Radlett, Hertfordshire.
Alex throws Dim and Georgie into South Mere lake at Thamesmead South Housing Estate, London. This is 200 yards north of where Alex walks home at night through an elevated plaza (now demolished) kicking rubbish.
The "Duke Of New York" pub is the demolished "The Bottle and Dragon" pub (formerly "The Old Leather Bottle") in Stonegrove, Edgware, London.
The Cat Lady house where Alex is caught by police is Shenley Lodge, Rectory Lane, Shenley, Hertfordshire.
The prison's exterior is HMP Wandsworth, its interior is the Woolwich Barracks now demolished prison wing, Woolwich, London.
The chapel where Alex scrolls the lyrics as the prisoners sing is (building is probably demolished) at St. Edward's College, Totteridge Lane, North London. The same site where Alex signs consent for the Ludovico treatment in the prison governor's office (still standing).
The two biblical fantasy scenes (Christ, and the fight scene) were filmed at Dashwood Mausoleum, West Wycombe, Buckinghamshire.
The check-in at Ludovico Medical Clinic, the brain-washing film theatre, Alex's house lobby with the broken elevator, Alex's hospital bedroom and police interrogation/beating room (demolished) are all Brunel University, Uxbridge, Middlesex.
The Minister's presentation to the media of Alex's "cure" takes place at the Nettlefold Hall inside West Norwood Library, West Norwood, London.
Alex is attacked by vagrants underneath the north side of the Albert Bridge, Chelsea, London.
The scene where Dim and Georgie take Alex in the police Landrover down the country lane and subsequent water trough beating is School Lane, Bricket Wood, Hertfordshire.
Alex's suicide bid leap and corresponding billiard room were at the old Edgewarebury Country Club, Barnett Lane, Elstree, Hertfordshire.
The hospital where Alex recovers is Princess Alexandra Hospital (Harlow), Essex.
The final sexual fantasy was shot at the demolished Handley Page Ltd's hangars, Radlett, Hertfordshire.
Music[edit]
Main article: A Clockwork Orange (soundtrack)
In spite of Alex's obsession with Beethoven, the soundtrack contains more music by Rossini than by Beethoven. The fast-motion sex scene with the two girls, the slow-motion fight between Alex and his Droogs, the fight with Billy Boy's gang, the invasion of the Cat Lady's home, and the scene where Alex looks into the river and contemplates suicide before being approached by the beggar are all accompanied by Rossini's music.[21][22]
Reception[edit]
Despite the film's controversial nature, A Clockwork Orange was a hit with American audiences, grossing more than $26 million on a conservative budget of $2.2 million, was critically acclaimed, and was nominated for several awards, including the Academy Award for Best Picture (losing to The French Connection). It also boosted sales of Beethoven's Ninth Symphony. As of 2015, A Clockwork Orange holds an 89% "Certified Fresh" rating among critics on Rotten Tomatoes.[23]
The film is ranked highly in many polls. It is ranked 46th in the AFI's 100 Years... 100 Movies and 70th in the AFI's 100 Years... 100 Movies (10th Anniversary Edition). In Sight & Sound's 2012 poll, A Clockwork Orange was ranked 75th greatest film of all time in the directors poll and 235th in the critics poll.[24]
Vincent Canby of The New York Times praised the film saying "McDowell is splendid as tomorrow's child, but it is always Mr. Kubrick's picture, which is even technically more interesting than "2001." Among other devices, Mr. Kubrick constantly uses what I assume to be a wide-angle lens to distort space relationships within scenes, so that the disconnection between lives, and between people and environment, becomes an actual, literal fact."[25]
Despite general praise from critics, the film had notable detractors. Film critic Stanley Kauffmann commented, "Inexplicably, the script leaves out Burgess' reference to the title".[26] Roger Ebert gave A Clockwork Orange two stars out of four, calling it an "ideological mess."[27] In the New Yorker review titled "Stanley Strangelove", Pauline Kael called it pornographic because of how it dehumanized Alex's victims while highlighting the sufferings of the protagonist. Kael derided Kubrick as a "bad pornographer", noting the Billyboy's gang extended stripping of the very buxom woman they intended to rape, claiming it was offered for titillation.[28]
John Simon noted that the novel's most ambitious effects were based on language and the alienating effect of the narrator's Nadsat slang, making it a poor choice for a film. Concurring with some of Kael's criticisms about the depiction of Alex's victims, Simon noted that the writer character (young and likeable in the novel) was played by Patrick Magee, "a very quirky and middle-aged actor who specialises in being repellent". Simon comments further that "Kubrick over-directs the basically excessive Magee until his eyes erupt like missiles from their silos and his face turns every shade of a Technicolor sunset."
The film was re-released in North America in 1973 and earned $1.5 million in rentals.[29]
Responses and controversy[edit]
Along with Bonnie and Clyde (1967), The Wild Bunch (1969), Dirty Harry (1971), and Straw Dogs (1971), the film is considered a landmark in the relaxation of control on violence in the cinema.[30] In the United Kingdom, A Clockwork Orange was very controversial and withdrawn from release by Kubrick himself.[31] It is 21st in the AFI's 100 Years... 100 Thrills and number 46 in the AFI's 100 Years... 100 Movies, although in the second listing, it is ranked 70th of 100. "Alex De Large" is listed 12th in the villains section of the AFI's 100 Years... 100 Heroes and Villains. In 2008, the AFI's 10 Top 10 rated A Clockwork Orange as the 4th greatest science-fiction movie to date. In 2010, TIME placed it 9th on their list of the Top 10 Ridiculously Violent Movies.[32] In 2008, Empire ranked it 37th on their list of "The 500 Greatest Movies of All Time.", and in 2013, Empire ranked it 11th on their list of "The 100 Best British Films Ever".[33] Spanish auteur Luis Buñuel was highly praising of the film. He once said: "A Clockwork Orange is my current favourite. I was predisposed against the film. After seeing it, I realised it is only a movie about what the modern world really means".[12]
American Film Institute recognition1998: AFI's 100 Years...100 Movies – #46[34]
2001: AFI's 100 Years...100 Thrills – #21[35]
2003: AFI's 100 Years...100 Heroes & Villains: Alex De Large – #12 Villain[36]
2007: AFI's 100 Years...100 Movies (10th Anniversary Edition) – #70[37]
2008: AFI's 10 Top 10 – #4 Science Fiction Film[38]
American version[edit]
In the United States, A Clockwork Orange was rated X in its original release. Later, Kubrick voluntarily replaced approximately 30 seconds of sexually explicit footage from two scenes with less explicit action for an R rating re-release in 1973. Current DVDs present the original edit (reclassified with an "R" rating), and only some of the early 1980s VHS editions are the edited version.[39][40]
Because of the explicit sex and violence, The National Catholic Office for Motion Pictures rated it C ("Condemned"), a rating which forbade Roman Catholics seeing the film. In 1982, the Office abolished the "Condemned" rating. Subsequently, films deemed to have unacceptable levels of sex and violence by the Conference of Bishops are rated O, "Morally Offensive".[41]
British withdrawal[edit]
Although passed uncut for UK cinemas in December 1971, British authorities considered the sexual violence in the film to be extreme. In March 1972, during the trial of a fourteen-year-old male accused of the manslaughter of a classmate, the prosecutor referred to A Clockwork Orange, suggesting that the film had a macabre relevance to the case.[42] The film was also linked to the murder of an elderly vagrant by a 16-year-old boy in Bletchley, Buckinghamshire, who pleaded guilty after telling police that friends had told him of the film "and the beating up of an old boy like this one." Roger Gray QC, for the defence, told the court that "the link between this crime and sensational literature, particularly A Clockwork Orange, is established beyond reasonable doubt".[43] The press also blamed the film for a rape in which the attackers sang "Singin' in the Rain" as "Singin' in the Rape".[44] Christiane Kubrick, the director's wife, has said that the family received threats and had protesters outside their home.[45] Subsequently, Kubrick asked Warner Brothers to withdraw the film from British distribution. In response to allegations that the film was responsible for copycat violence Kubrick stated: "To try and fasten any responsibility on art as the cause of life seems to me to put the case the wrong way around. Art consists of reshaping life, but it does not create life, nor cause life. Furthermore, to attribute powerful suggestive qualities to a film is at odds with the scientifically accepted view that, even after deep hypnosis in a posthypnotic state, people cannot be made to do things which are at odds with their natures."[46] The Scala Cinema Club went into receivership in 1993 after losing a legal battle following an unauthorized screening of the film.[47]
Whatever the reason for the withdrawal, it was difficult to see A Clockwork Orange in the United Kingdom for 27 years. It was only after Kubrick's death in 1999 that the film reappeared in cinemas and was released on VHS and DVD. On July 4, 2001, the uncut version premiered on Sky TV's Sky Box Office, where it ran until mid-September.
Withdrawal controversy documentary[edit]
In 1993, Channel 4 broadcast Forbidden Fruit, a 27-minute documentary about the controversial withdrawal of the film in Britain.[48] It contains much footage from A Clockwork Orange, marking the only time portions of the film were shown to British audiences during the 27-year ban.
Accolades[edit]
Won[edit]
Hugo Awards 1972 Best Dramatic Presentation
1971 New York Film Critics Circle Awards Best Director – Stanley Kubrick
Best Film
33rd Venice International Film Festival Pasinetti Award (it)
Silver Ribbon (Nastro d'Argento) 1973 for Best Foreign Director - Stanley Kubrick (awarded by the Italian National Syndicate of Film Journalists)
Nominated[edit]
44th Academy Awards Best Director – Stanley Kubrick
Best Film Editing – Bill Butler
Best Picture – Stanley Kubrick (Producer)
Best Adapted Screenplay – Stanley Kubrick
26th BAFTA Awards Best Art Direction – John Barry
Best Cinematography – John Alcott
Best Direction – Stanley Kubrick
Best Film
Best Film Editing – Bill Butler
Best Screenplay – Stanley Kubrick
Best Sound Track – Brian Blamey, John Jordan, Bill Rowe
24th Directors Guild of America Awards Outstanding Directorial Achievement in Motion Pictures – Stanley Kubrick
29th Golden Globe Awards[49] Best Director: Motion Picture – Stanley Kubrick
Best Motion Picture – Drama
Best Motion Picture Actor: Drama – Malcolm McDowell
Writers Guild of America Awards 1972 Best Drama Adapted from Another Medium – Stanley Kubrick

Differences between the film and the novel[edit]
Kubrick's film is relatively faithful to the Burgess novel, omitting only the final, positive chapter, wherein Alex matures and outgrows sociopathy. Whereas the film ends with Alex offered an open-ended government job — implying he remains a sociopath at heart — the novel ends with Alex's positive change in character. This plot discrepancy occurred because Kubrick based his screenplay upon the novel's American edition, its final chapter deleted on insistence of the American publisher.[50] He claimed not to have read the complete, original version of the novel until he had almost finished writing the screenplay, and that he never considered using it. The introduction to the 1996 edition of A Clockwork Orange, says that Kubrick found the end of the original edition too blandly optimistic and unrealistic.
In the novel, Alex's last name was never revealed, while in the film, his surname is 'DeLarge', due to Alex's calling himself "Alexander the Large" in the novel.
At the beginning of the novel, Alex is a 15-year-old juvenile delinquent. In the film, to minimize controversy, Alex is portrayed as somewhat older, around 17 or 18.
Critic Randy Rasmussen has argued that the government in the film is in considerable shambles and in a state of desperation while the government in the novel is quite strong and self-confident. The former reflects Kubrick's preoccupation with the theme of acts of self-interest masked as simply following procedure.[51]
 One example of this would be differences in the portrayal of P.R. Deltoid, Alex's "post-corrective advisor". In the novel, P.R. Deltoid appears to have some moral authority (although not enough to prevent Alex from lying to him or engaging in crime, despite his protests). In the film, Deltoid is slightly sadistic and seems to have a sexual interest in Alex, interviewing him in his parents' bedroom and smacking him in the crotch.
In the film, Alex has a pet snake. There is no mention of this in the novel.[52]
In the novel, F. Alexander recognises Alex through a number of careless references to the previous attack (e.g., his wife then claiming they did not have a telephone). In the film, Alex is recognised when singing the song 'Singing in the Rain' in the bath, which he had hauntingly done while attacking F. Alexander's wife. The song does not appear at all in the book, as it was an improvisation by actor Malcolm McDowell when Kubrick complained that the rape scene was too "stiff".[53]
In the novel, Alex is offered up for treatment after killing a fellow inmate who was sexually harassing him. In the film, this scene was cut out and, instead of Alex practically volunteering for the procedure, he was simply selected by the head of the government due to speaking out of turn.
In the novel, Alex drugs and rapes two ten-year-old girls. In the film, the girls are young adults that seem to have consensual, playful sex with him, with no suggestion of using any drugs and without any violence.
In the novel, the writer was working on a manuscript called A Clockwork Orange when Alex and his gang are breaking into his house. In the movie, the title of the manuscript is not visible, leaving no literal reference to the title of the movie. Some explanations of the title are offered in the Analysis section of the novel.
Early in the film, Alex and his droogs brutally attack a drunk, homeless man. Later, when Alex is returned to society, he is recognised by the same man. The homeless man gathers several other homeless men to beat Alex, who is unable to defend himself. These scenes do not appear in the book, but there is a similar scene in which an elderly man heading home from the library is beaten and his books destroyed by the droogs. After Alex is returned to society, he decides he wants to kill himself and goes to a library to find a book on how to do it. There, he is recognized by the man he had beaten and is attacked by him and a gang of other old library patrons.
Alex is beaten nearly to death by the police after his rehabilitation. In the film, the policemen are his former droogs, Dim and Georgie. In the book, instead of Georgie, who was said to have been killed, the second officer is Billy Boy, the leader of the opposing gang that Alex and his droogs fought earlier, both in the movie and the book. This is a significant difference because Dim and Georgie had only been mocked and humiliated by Alex before his treatment and Billy Boy had nearly been killed, which implies the beating that Alex received from him was probably much more savage and hateful.
In the novel, Alex is accidentally conditioned against all music, but in the film he is only conditioned against Beethoven's 9th Symphony.
Home media[edit]
In 2000, the film was released on VHS and DVD, both individually and as part of The Stanley Kubrick Collection DVD set. Consequent to negative comments from fans, Warner Bros re-released the film, its image digitally restored and its soundtrack remastered. A limited-edition collector's set with a soundtrack disc, film poster, booklet and film strip followed, but later was discontinued. In 2005, a British re-release, packaged as an "Iconic Film" in a limited-edition slipcase was published, identical to the remastered DVD set, except for different package cover art. In 2006, Warner Bros announced the September publication of a two-disc special edition featuring a Malcolm McDowell commentary, and the releases of other two-disc sets of Stanley Kubrick films. Several British retailers had set the release date as 6 November 2006; the release was delayed and re-announced for 2007 Holiday Season.
An HD DVD, Blu-ray, and DVD re-release version of the film was released on October 23, 2007. The release accompanies four other Kubrick classics. 1080p video transfers and remixed Dolby TrueHD 5.1 (for HD DVD) and uncompressed 5.1 PCM (for Blu-ray) audio tracks are on both the Blu-ray and HD DVD editions. Unlike the previous version, the DVD re-release edition is anamorphically enhanced. The Blu-ray was reissued for the 40th anniversary of the film's release, identical to the previously released Blu-ray, apart from adding a Digibook and the Stanley Kubrick: A Life in Pictures documentary as a bonus feature.
In popular culture[edit]
Main article: List of cultural references to A Clockwork Orange
The film's themes and visual characteristics have been referenced in popular culture, including music, television, film, sports, magazines and video games.[54]
See also[edit]

Portal icon Film portal
Portal icon Speculative fiction portal
Portal icon 1970s portal
List of films featuring home invasions
List of stories set in a future now past
Aestheticisation of violence

Notes and References[edit]
Notes[edit]

References[edit]
1.Jump up ^ "A CLOCKWORK ORANGE". British Board of Film Classification. Retrieved 5 October 2013.
2.Jump up ^ "A Clockwork Orange (1971)". British Film Institute. Retrieved 20 September 2014.
3.^ Jump up to: a b "A Clockwork Orange (1972)". Box Office Mojo. Retrieved 21 September 2014.
4.Jump up ^ McDougal, Stuart Y. (7 July 2003). Stanley Kubrick's A Clockwork Orange. Cambridge University Press. p. 158. Retrieved 4 June 2014.
5.Jump up ^ "Should We Cure Bad Behavior?". Reason. 2005-06-01.
6.Jump up ^ Saturday Review, December 25, 1971
7.Jump up ^ "Books of The Times". The New York Times. 1963-03-19.
8.Jump up ^ "A Clockwork Orange". Collativelearning.com.
9.Jump up ^ Theodore Dalrymple (January 1, 2006). "A Prophetic and Violent Masterpiece". City Journal. Retrieved 2011-03-13.
10.Jump up ^ Duncan 2003, p. 142.
11.Jump up ^ Duncan 2003, p. 128.
12.^ Jump up to: a b Duncan 2003, p. 129.
13.Jump up ^ "Art Adams interview". "The Mutant Report." Volume 3. Marvel Age #71 (February 1989). Marvel Comics. pp. 12–15.
14.Jump up ^ "Misc". Worldtv.com. Retrieved 2011-03-13.
15.Jump up ^ "The Kubrick Site: The ACO Controversy in the UK". Visual-memory.co.uk. Retrieved 2011-03-13.
16.Jump up ^ Baxter 1997, pp. 6-7.
17.Jump up ^ "A Clockwork Orange". Chicago Sun-Times. 11 February 1972.
18.Jump up ^ "A Clockwork Orange". Chalkthefilm.com. Retrieved 2011-03-13.
19.Jump up ^ "Similarities – Funeral Parade of Roses and A Clockwork Orange « Recca's Blog". Reccaphoenix.wordpress.com. 2008-04-20. Retrieved 2011-03-13.
20.Jump up ^ Ciment 1982. Online at: Kubrick on A Clockwork Orange: An interview with Michel Ciment
21.Jump up ^ Stanley Kubrick's A Clockwork Orange edited by Stuart Y. McDougal. Cambridge University Press, 2003. P. 123.
22.Jump up ^ http://www.csmonitor.com/Innovation/2012/0229/You-ve-heard-Gioachino-Rossini-s-music-even-if-you-ve-never-heard-of-him/The-Thieving-Magpie
23.Jump up ^ "A Clockwork Orange Movie Reviews". Rotten Tomatoes. Retrieved 2010-01-16.
24.Jump up ^ "A Clockwork Orange".
25.Jump up ^ Canby, Vincent (December 20, 1971). "A Clockwork Orange (1971) 'A Clockwork Orange' Dazzles the Senses and Mind". The New York Times.
26.Jump up ^ Quote in John Walker, Halliwell's Film, Video & DVD Guide 2006, page 223 (HarperCollins, 2005). ISBN 0-00-720550-3
27.Jump up ^ Ebert, R: "A Clockwork Orange," Chicago Sun-Times, 11 February 1972
28.Jump up ^ The Kubrick Site: Pauline Kael on 'A Clockwork Orange'
29.Jump up ^ "Big Rental Films of 1973", Variety, 9 January 1974, p. 60
30.Jump up ^ Ian MacDonald, Revolution in the Head, Pimlico, p.235
31.Jump up ^ http://www.theguardian.com/film/2000/mar/03/fiction
32.Jump up ^ "Top 10 Ridiculously Violent Movies". Time. 3 September 2010. Retrieved 17 February 2013.
33.Jump up ^ "The 100 Best British Films Ever". Empire. Retrieved 5 January 2013
34.Jump up ^ "AFI's 100 Years...100 Movies". American Film Institute. Retrieved 14 January 2015.
35.Jump up ^ "AFI's 100 Years...100 Thrills". American Film Institute. Retrieved 14 January 2015.
36.Jump up ^ "AFI's 100 Years...100 Heroes & Villains". American Film Institute. Retrieved 14 January 2015.
37.Jump up ^ "AFI's 100 Years...100 Movies (10th Anniversary Edition)". American Film Institute. Retrieved 14 January 2015.
38.Jump up ^ "AFI's 10 Top 10: Top 10 Sci-Fi". American Film Institute. Retrieved 14 January 2015.
39.Jump up ^ "Article discussing the edits, with photographs". geocities.com. Archived from the original on 2009-10-23.
40.Jump up ^ "Kubrick Film Ratings Comparisons" – actual clips, in both "X" and "R" edits.
41.Jump up ^ Gillis, Chester (1999). Roman Catholicism in America. United States of America: Columbia University Press. p. 226. ISBN 0-231-10870-2.
42.Jump up ^ "Serious pockets of violence at London school, QC says", The Times, 21 March 1972.
43.Jump up ^ " 'Clockwork Orange' link with boy's crime", The Times, 4 July 1973.
44.Jump up ^ "A Clockwork Orange: Context". SparkNotes. 1999-03-07. Archived from the original on 14 February 2011. Retrieved 2011-03-13.
45.Jump up ^ Barnes, Henry; Brooks, Xan (2011-05-20). "Cannes 2011: Re-winding A Clockwork Orange with Malcolm McDowell – video". London: Guardian News and Media Limited. Archived from the original on 21 May 2011. Retrieved 2011-05-21.
46.Jump up ^ Paul Duncan, Stanley Kubrick: The Complete Films, page 136 (Taschen GmbH, 2003) ISBN 3-8228-1592-6
47.Jump up ^ "Scala's History". scala-london.co.uk. Archived from the original on 24 October 2007. Retrieved 2007-11-12.
48.Jump up ^ "Without Walls: Forbidden Fruit (1993) A Clockwork Orange BBC Special – Steven Berkoff". Archived from the original on 2009-10-23.
49.Jump up ^ HFPA - Awards Search
50.Jump up ^ "The Kubrick FAQ Part 2". visual-memory.co.uk.
51.Jump up ^ Kubrick: Seven Films Analyzed by Randy Rasmussen, p. 112
52.Jump up ^ Stanley Kubrick by John Baxter, p. 255
53.Jump up ^ Stanley Kubrick by Vincent Lobrutto pp. 365–6 and Stanley Kubrick, director by Alexander Walker, Sybil Taylor, Ulrich Ruchti, p. 204
54.Jump up ^ Melanya Burrows (2005-01-28). "Addicted to Droogs". The New Zealand Herald. Retrieved 2007-08-14.
BibliographyBaxter, John (1997). Stanley Kubrick: A Biography. HarperCollins. ISBN 978-0-00-638445-8.
Duncan, Paul (2003). Stanley Kubrick: The Complete Films. Taschen GmbH. ISBN 978-3836527750.
Further reading[edit]
Burgess, Anthony (2000). Stanley Kubrick's a Clockwork Orange: Based on the Novel by Anthony Burgess. ScreenPress Books. ISBN 978-1-901680-47-8.
Duncan, Paul (2003). Stanley Kubrick: The Complete Films. Taschen GmbH. ISBN 978-3836527750.
Heide, Thomas von der (1 June 2006). A Clockwork Orange - The presentation and the impact of violence in the novel and in the film. GRIN Verlag. ISBN 978-3-638-50681-6.
McDougal, Stuart Y. (7 July 2003). Stanley Kubrick's A Clockwork Orange. Cambridge University Press. ISBN 978-0-521-57488-4.
Volkmann, Maren (16 October 2006). "A Clockwork Orange" in the Context of Subculture. GRIN Verlag. ISBN 978-3-638-55498-5.
External links[edit]
 Wikimedia Commons has media related to A Clockwork Orange (film).
 Wikiquote has quotations related to: A Clockwork Orange (film)
Official website of Stanley Kubrick at Warner Bros.
A Clockwork Orange at the Internet Movie Database
A Clockwork Orange at Box Office Mojo
A Clockwork Orange at Rotten Tomatoes
A Clockwork Orange at Metacritic
A Clockwork Orange at Discogs (list of releases)
A Clockwork Orange at SparkNotes
"One on One with Malcolm McDowell" from HoboTrashcan.com (in which the actor discusses the film and its staying power)


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Last Tango in Paris
From Wikipedia, the free encyclopedia
Jump to: navigation, search


Last Tango in Paris
LastTango.jpg
Theatrical release poster

Directed by
Bernardo Bertolucci
Produced by
Alberto Grimaldi
Written by
Bernardo Bertolucci
Franco Arcalli
Agnès Varda (French dialogues)
Story by
Bernardo Bertolucci
Starring
Marlon Brando
Maria Schneider
Jean-Pierre Léaud
Music by
Gato Barbieri
Cinematography
Vittorio Storaro
Edited by
Franco Arcalli
Roberto Perpignani

Production
 company

PEA Predozioni Europee Associate S.A.S.
 Les Productions Artistes Associes S.A.

Distributed by
United Artists

Release dates

14 October 1972 (NY)
15 December 1972 (FRA/ITA)
7 February 1973 (US)


Running time
 129 minutes (original NC-17/X-rated version)
 250 minutes (rough cut)[1]
Country
France
 Italy
Language
English
 French
Budget
$1.25 million[2]
Box office
$96,301,534[3]
Last Tango in Paris (Italian: Ultimo tango a Parigi) is a 1972 Franco-Italian romantic erotic drama film directed by Bernardo Bertolucci which portrays a recent American widower who begins an anonymous sexual relationship with a young betrothed Parisian woman. It stars Marlon Brando, Maria Schneider, and Jean-Pierre Léaud.
The film's raw portrayal of sexual violence and emotional turmoil led to international controversy and drew various levels of government censorship in different venues. Upon release in the United States, the most graphic scene was cut and the MPAA gave the film an X rating. After revisions were made to the MPAA ratings code, in 1997 the film was re-classified NC-17. MGM released a censored R-rated cut in 1981. The film was rated NC-17 for "some explicit sexual content."


Contents  [hide]
1 Plot
2 Cast
3 Production 3.1 Background
3.2 Francis Bacon influence
3.3 Brando's lines
4 Post-production
5 Reception 5.1 Response in United States
5.2 International response
5.3 Accolades
6 References
7 External links

Plot[edit]
Paul, a middle-aged American hotel owner mourning his wife's suicide, meets a young, engaged Parisian woman named Jeanne at an apartment that both are interested in renting. Paul takes the apartment after they begin an anonymous sexual relationship there. He insists that neither of them share any personal information, not even given names. The affair continues on until one day Jeanne arrives at the apartment and finds that Paul has packed up and left without warning.
Paul later meets Jeanne on the street and says he wants to renew the relationship. He tells her of the recent tragedy of his wife. As he tells his life story, they walk into a tango bar, where he continues telling her about himself. The loss of anonymity disillusions Jeanne about their relationship. She tells Paul she does not want to see him again. Paul, not wanting to let Jeanne go, chases her back to her apartment, where he tells her he loves her and wants to know her name.
Jeanne takes a gun from a drawer. She tells Paul her name and shoots him. Paul staggers out onto the balcony, mortally wounded, and collapses. As Paul dies, a dazed Jeanne mutters to herself that he was just a stranger who tried to rape her, that she did not know who he was, as if in a rehearsal, preparing herself for questioning by the police.
Cast[edit]
Marlon Brando as Paul, an American expatriate and hotel owner
Maria Schneider as Jeanne, a young Parisian woman
Jean-Pierre Léaud as Thomas, a film director and Jeanne's fiance
Maria Michi as Rosa's mother
Massimo Girotti as Marcel, Rosa's former lover
Giovanna Galletti as the Prostitute, an old acquaintance of Rosa
Darling Légitimus as the Concierge
Catherine Allégret as Catherine, a maid at Paul and Rosa's hotel
Gitt Magrini as Jeanne's mother
Luce Marquand as Olympia
Veronica Lazar as Rosa, Paul's deceased wife
Dan Diament as the TV sound engineer
Catherine Sola as the script girl
Mauro Marchetti as the TV cameraman
Peter Schommer as the TV assistant cameraman
Catherine Breillat as Mouchette
Marie-Hélène Breillat as Monique
Armand Abplanalp as the Prostitute's client
Rachel Kesterber as Christine
Ramón Mendizábal as the Tango Orchestra Leader
Mimi Pinson as the President of Tango Jury
Gérard Lepennec as the tall furniture mover
Stéphane Koziak as the short furniture mover
Scenes deleted in the USMichel Delahaye as the Bible salesman
Laura Betti as Miss Blandish
Jean-Luc Bideau as the Barge Captain[4]
Gianni Pulone
Franca Sciutto
Production[edit]



 The Pont de Bir-Hakeim in Paris, where numerous scenes were shot.
Background[edit]
Bernardo Bertolucci developed the film from his sexual fantasies: "He once dreamed of seeing a beautiful nameless woman on the street and having sex with her without ever knowing who she was".[5] The screenplay was by Bertolucci, Franco Arcalli, and Agnès Varda (additional dialogue). It was later adapted as a novel by Robert Alley. The film was directed by Bertolucci with cinematography by Vittorio Storaro. Agnès Varda based the last scenes on the death of Jim Morrison in Paris in the previous year.[citation needed]
Bertolucci originally intended to cast Dominique Sanda, who developed the idea with him, and Jean-Louis Trintignant. Trintignant refused and, when Brando accepted, Sanda was pregnant and decided not to do the film.[5]
An art lover, Bertolucci drew inspiration from the works of the British artist Francis Bacon for the opening sequence of cast and crew credits.[6]
Francis Bacon influence[edit]



Double Portrait of Lucian Freud and Frank Auerbach


Study for a Portrait
The film's opening credits include two paintings by Francis Bacon: Double Portrait of Lucian Freud and Frank Auerbach and Study for a Portrait. The hues used in the film were inspired by the paintings of Bacon.[7] During pre-production, Bertolucci frequently visited an exhibit of Bacon's paintings at the Grand Palais in Paris; he said that the light and colour in Bacon's paintings reminded him of Paris in the winter, when

"the lights of the stores are on, and there is a very beautiful contrast between the leaden gray of the wintry sky and the warmth of the show windows...the light in the paintings was the major source of inspiration for the style we were looking for."[8]
Bacon's painting style often depicted human skin like raw meat and the painter's inspiration included meat hanging in a butcher shops window and human skin diseases.[8]
Cinematographer Vittorio Storaro had previously worked with Bertolucci on The Conformist and often used an azure hue in the film. Storaro later told a reporter that

"after The Conformist I had a moment of crisis; I was asking myself: what can come after azure?...I did not have the slightest idea that an orange film could be born. We needed another kind of emotion...It was the case of Last Tango.[8]
For Last Tango in Paris, Bertolucci and Storaro took inspiration from Bacon's paintings by using "rich oranges, light and cool grays, icy whites, and occasional reds combine[d] with Bertolucci's own tasteful choices of soft browns, blond browns, and delicate whites with bluish and pink shadings."[9]
Bertolucci took Marlon Brando to the Bacon exhibit and told Brando that he "wanted him to compare himself with Bacon's human figures because I felt that, like them, Marlon's face and body were characterized by a strange and infernal plasticity. I wanted Paul to be like the figures that obsessively return in Bacon: faces eaten by something coming from the inside."[8]
Brando's lines[edit]
As was his practice in previous films, Marlon Brando refused to memorize his lines for many scenes. He wrote his lines on cue cards and posted them around the set, leaving Bertolucci with the problem of keeping them out of the picture frame. During his long monologue over the body of his wife, for example, Brando's dramatic lifting of his eyes upward is not spontaneous dramatic acting but a search for his next cue.[10] Brando asked Bertolucci if he could "write lines on Maria's rear end," which the director rejected.[11]
Post-production[edit]
Schneider provided frank interviews in the wake of Tango '​s controversy, claiming she had slept with 50 men and 70 women, that she was "bisexual completely," and that she was a user of heroin, cocaine, and marijuana. She also said of Bertolucci, "He's quite clever and more free and very young. Everybody was digging what he was doing, and we were all very close."[12]
During the publicity for the film's release, Bertolucci said Schneider developed an "Oedipal fixation with Brando."[11] Schneider said Brando sent her flowers after they first met, and "from then on he was like a daddy."[10] In a contemporary interview, Schneider denied this, saying, "Brando tried to be very paternalistic with me, but it really wasn't any father-daughter relationship."[11]
Bertolucci shot a scene which shows Brando's genitals, but in 1973 explained, "I had so identified myself with Brando that I cut it out of shame for myself. To show him naked would have been like showing me naked."[11]
In 1975, Schneider recounted feelings of sexual humiliation pertaining to the sodomy scene:
“ "I should have called my agent or had my lawyer come to the set because you can't force someone to do something that isn't in the script, but at the time, I didn't know that. Marlon said to me: 'Maria, don't worry, it's just a movie,' but during the scene, even though what Marlon was doing wasn't real, I was crying real tears. I felt humiliated and to be honest, I felt a little raped, both by Marlon and by Bertolucci. After the scene, Marlon didn't console me or apologise. Thankfully, there was just one take."[13] ”
Schneider much later in life said that making the film was her life's only regret,[14] that it "ruined her life," and that she considers Bertolucci a "gangster and a pimp."[15]
In 2011, Bertolucci disavowed that he "stole her youth," and commented, "The girl wasn't mature enough to understand what was going on."[16] In 2013 he said on Dutch College Tour, a television program, "I feel guilty, but I don't regret it."[17]
Brando said to Bertolucci at the time, "I was completely and utterly violated by you. I will never make another film like that."[11] Brando refused to speak to Bertolucci for 15 years after the production was completed.[18] Much like Schneider, Brando later said he "felt raped and manipulated" by the film.[14]
Reception[edit]
The film opened in late 1972 in France, where filmgoers stood in two-hour lines for the first month of its run at the seven cinemas where it was screened.[10] It gained unanimous positive reviews in every major French publication.[19] In order to circumvent state censorship, thousands of Spaniards travelled hundreds of miles to reach French cinemas in Biarritz and Perpignan where Tango was playing.[20] Following that, it was released in the United States, Great Britain, and other venues.
The film generated considerable controversy because of its subject and graphic portrayal of sex.
Response in United States[edit]



"October 14, 1972...should become a landmark in movie history comparable to May 29, 1913—the night Le Sacre du Printemps was first performed—in music history...Last Tango in Paris has the same kind of hypnotic excitement as the Sacre, the same primitive force, and the same thrusting, jabbing eroticism. The movie breakthrough has finally come." — Pauline Kael[21]

The film premiered in New York City on 14 October 1972, to enormous public controversy, as it had received coverage after opening in France. The media frenzy surrounding the film generated intense popular interest as well as moral condemnation, and the film was featured in cover stories in both Time[22] and Newsweek[11] magazines. Playboy published a photo spread of Brando and Schneider "cavorting in the nude."[11] Time wrote,

"Any moviegoers who are not shocked, titillated, disgusted, fascinated, delighted or angered by this early scene in Bernardo Bertolucci's new movie, Last Tango in Paris, should be patient. There is more to come. Much more."[10]
The Village Voice reported walkouts by board members and "vomiting by well-dressed wives."[23] Columnist William F. Buckley and ABC's Harry Reasoner denounced the film as "pornography disguised as art."[11]
After local government officials failed to ban the film in Montclair, NJ, theatergoers had to push through a mob of 200 outraged residents, who hurled epithets like "perverts" and "homos" at the attendees. Later, a bomb threat temporarily halted the showing.[24] The New York chapter of the National Organization for Women denounced the film as a tool of "male domination."[25]
The film's scandal centred mostly on an anal sex scene, featuring Paul's use of butter as a lubricant.[26][27] Other critics focused on when the character Paul asks Jeanne to insert her fingers in his anus, then exacts a vow from her that she would prove her devotion to him by, among other things, having sex with a pig. Vincent Canby of The New York Times described the film's sexual content as the artistic expression of the "era of Norman Mailer and Germaine Greer."[28]
Film critic Pauline Kael bestowed the film with the most ecstatic endorsement of her career, writing,

"Tango has altered the face of an art form. This is a movie people will be arguing about for as long as there are movies",[10] and called it "the most powerfully erotic movie ever made, and it may turn out to be the most liberating movie ever made."[29]
United Artists reprinted the whole of Kael's rave as a double-page advertisement in the Sunday New York Times. Kael's review of Last Tango in Paris is regarded as the most influential piece of her career,[30] the American critic Roger Ebert has repeatedly described it as "the most famous movie review ever published," and he added the film to his "Great Movies" collection.[31][32]
American director Robert Altman expressed unqualified praise: "I walked out of the screening and said to myself, 'How dare I make another film?' My personal and artistic life will never be the same."[11] Review aggregation website Rotten Tomatoes retrospectively collected 31 reviews to give the film a rating of 80%.[33]
The film earned $12,625,000 in North American rentals in 1973.[34]
International response[edit]
British censors reduced the duration of the sodomy sequence before permitting the film to be released in the United Kingdom,[35] though it is not cut in modern releases. Mary Whitehouse, a Christian morality campaigner, expressed outrage that the film had been certified "X" rather than banned outright, and Labour MP Maurice Edelman denounced the classification as "a license to degrade".[36] Chile banned the film entirely for nearly thirty years under its military government,[37] and the film was similarly suppressed in South Korea and Portugal.[38]
In Australia, the film was released uncut with an R18+ rating by the Australian Classification Board on 1 February 1973. It received a VHS release by Warner Home Video with the same classification on 1 January 1987, forbidding sale or hire to anyone under the age of 18.[39]
In Italy, the film was released on 15 December 1972, grossing an unprecedented $100,000 in six days.[40] One week later, however, police seized all copies on the order of a prosecutor, who defined the film as "self-serving pornography", and its director was put on trial for "obscenity". Following first degree and appeal trials, the fate of the film was sealed on 26 January 1976 by the Italian Supreme Court, which sentenced all copies to be destroyed, (though some were preserved by the National Film Library). Bertolucci was served with a four-month suspended sentence in prison and had his civil rights revoked for five years, depriving him of voting rights.[15] In 1987, 15 years after the film's release, a new ruling allowed the film to be released in Italy.[citation needed]
In Canada, the film was banned by the Nova Scotia Board of Censors, leading to the landmark 1978 Supreme Court of Canada split decision in Nova Scotia Board of Censors v. McNeil, which upheld the provinces' right to censor films.[41]
Accolades[edit]
Marlon Brando received an Academy Award nomination for Best Actor in a Leading Role and Bernardo Bertolucci was nominated for Best Director.[42]
References[edit]
1.Jump up ^ http://www.imdb.com/title/tt0070849/alternateversions
2.Jump up ^ Tino Balio, United Artists: The Company The Changed the Film Industry, Uni of Wisconsin Press, 1987 p 288
3.Jump up ^ "Last Tango in Paris (1972) - Box office / business". IMDb. Retrieved 30 January 2012.
4.Jump up ^ Arcalli & Bertolucci 1972, pp. 21-22.
5.^ Jump up to: a b Taylor, Sophie (4 February 2011). "Last Tango in Paris star Maria Schneider dies at 58". The Week. Retrieved 5 January 2014.
6.Jump up ^ "A celebration of 500 years of British Art," Life: The Observer Magazine, 19 March 2000
7.Jump up ^ Tonetti 1995, p. 233.
8.^ Jump up to: a b c d Tonetti 1995, p. 126.
9.Jump up ^ Tonetti 1995, p. 127.
10.^ Jump up to: a b c d e "Self-Portrait of an Angel and Monster", Time
11.^ Jump up to: a b c d e f g h i Michener, Charles. "Tango: The Hottest Movie," Newsweek, 12 February 1973
12.Jump up ^ Klemesrud, Judy. "Maria Says her 'Tango' is Not," The New York Times. 4 February 1973, pg. 117.
13.Jump up ^ Das, Lina (1975-09-14). "I felt raped by Brando". London: Daily Mail. Retrieved 2007-04-21.
14.^ Jump up to: a b "Downhill ride for Maria after her tango with Brando", The Sydney Morning Herald, 21 June 2006
15.^ Jump up to: a b "Stealing Beauty", The Guardian, 5 February 2004
16.Jump up ^ "INTERVIEW: Bernardo Bertolucci", Green Cine
17.Jump up ^ "Bernardo Bertolucci interview", Dutch College Tour, NTR, 2 February 2013,
18.Jump up ^ "Legendary Oscar-Winner Bernardo Bertolucci's Career Celebrated at MoMA", Huffington Post
19.Jump up ^ "'Last Tango' Wins Raves in France," The New York Times, 16 December 1972. pg. 24.
20.Jump up ^ Giniger, Henry. "Spaniards Seeing 'Tango' in France," The New York Times, 16 April 1973, pg. 49
21.Jump up ^ Arcalli & Bertolucci 1972, p. 9.
22.Jump up ^ Last Tango in Paris Cover Story
23.Jump up ^ "Last Tango in Paris: Can it arouse the same passions now?", Independent
24.Jump up ^ Waggoner, Walter H. "Pickets Call 'Tango' Filthy as it Starts its Montclair Run," The New York Times, 26 April 1973. pg. 91.
25.Jump up ^ Johnston, Laurie. "'Women's Power' Protests 'Male Domination' of Wall St.," The New York Times, 24 August 1973, pg. 39.
26.Jump up ^ "Sick Stick". New York Post. 2007-07-23.
27.Jump up ^ Jenkins, Tamara. "Movies: About Last Tango in Paris". The New York Times. Retrieved 2010-05-07.
28.Jump up ^ Canby, Vincent. "Last Tango in Paris."
29.Jump up ^ Arcalli & Bertolucci 1972, p. 10.
30.Jump up ^ "Finding It at the Movies", New York Review of Books
31.Jump up ^ "Last Tango in Paris.", Roger Ebert website
32.Jump up ^ "Great Movies: Last Tango in Paris"
33.Jump up ^ "Last Tango in Paris". Rotten Tomatoes. Retrieved 10 January 2012.
34.Jump up ^ "Big Rental Films of 1973", Variety, 9 January 1974 p. 19
35.Jump up ^ Case Study: Last Tango in Paris, Students' British Board of Film Classification page
36.Jump up ^ "Last Tango in Paris: Can it Arouse the Same Passions Now?", Independent
37.Jump up ^ After Banning 1,092 Movies, Chile Relaxes Its Censorship
38.Jump up ^ "Bertolucci revisited: Another tango with the master of taboo"
39.Jump up ^ "View Title: Last Tango in Paris". Australian Classification Board. Retrieved 16 February 2014.
40.Jump up ^ Gussow, Mel. "Bertolucci Talks about Sex, Revolution, and 'Last Tango'," The New York Times, 2 February 1973, pg. 20.
41.Jump up ^ "Supreme Court of Canada - Decisions". Scc.lexum.org. Retrieved 2012-10-20.
42.Jump up ^ "The 46th Academy Awards (1974) Nominees and Winners". Beverly Hills: oscars.org and Academy of Motion Picture Arts and Sciences. Retrieved 27 August 2013.
Bibliography
Arcalli, Franco; Bertolucci, Bernardo (1972). Bernardo Bertolucci's Last Tango in Paris, the screenplay. New York: Delacorte Press.
Tonetti, Claretta Micheletti (1995). Bernardo Bertolucci, The Cinema of Ambiguity. New York: Twayne Publishers. ISBN 0-8057-9313-5.
 Wikiquote has quotations related to: Last Tango in Paris
External links[edit]


Flag of France.svgFrance portal
 Flag of Italy.svgItaly portal
 Mistersmileyface.png1970s portal
 Video-x-generic.svgFilm portal
 

Last Tango in Paris at the Internet Movie Database
Last Tango in Paris at Rotten Tomatoes
Ultimo Tango Em Paris MOVIE
Pauline Kael's review
Maria Schneider filmography
Last Tango in Paris - slideshow by Life magazine


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Films directed by Bernardo Bertolucci


La commare secca (1962) ·
 Before the Revolution (1964) ·
 Partner (1968) ·
 Segment "Agonia" in Amore e rabbia (1969) ·
 The Spider's Stratagem (1970) ·
 The Conformist (1970) ·
 Last Tango in Paris (1972) ·
 1900 (1976) ·
 La Luna (1979) ·
 Tragedy of a Ridiculous Man (1981) ·
 The Last Emperor (1987) ·
 The Sheltering Sky (1990) ·
 Little Buddha (1994) ·
 Stealing Beauty (1996) ·
 Besieged (1998) ·
 Segment "Histoire d'eaux" in Ten Minutes Older (2002) ·
 The Dreamers (2003) ·
 Me and You (2012)
 

  


Categories: 1972 films
French films
French drama films
Italian films
Italian drama films
English-language films
French-language films
Films directed by Bernardo Bertolucci
Censorship in Italy
Erotic romance films
Films about widowhood
Films set in Paris
1970s romantic drama films
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Obscenity controversies










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Last Tango in Paris
From Wikipedia, the free encyclopedia
Jump to: navigation, search


Last Tango in Paris
LastTango.jpg
Theatrical release poster

Directed by
Bernardo Bertolucci
Produced by
Alberto Grimaldi
Written by
Bernardo Bertolucci
Franco Arcalli
Agnès Varda (French dialogues)
Story by
Bernardo Bertolucci
Starring
Marlon Brando
Maria Schneider
Jean-Pierre Léaud
Music by
Gato Barbieri
Cinematography
Vittorio Storaro
Edited by
Franco Arcalli
Roberto Perpignani

Production
 company

PEA Predozioni Europee Associate S.A.S.
 Les Productions Artistes Associes S.A.

Distributed by
United Artists

Release dates

14 October 1972 (NY)
15 December 1972 (FRA/ITA)
7 February 1973 (US)


Running time
 129 minutes (original NC-17/X-rated version)
 250 minutes (rough cut)[1]
Country
France
 Italy
Language
English
 French
Budget
$1.25 million[2]
Box office
$96,301,534[3]
Last Tango in Paris (Italian: Ultimo tango a Parigi) is a 1972 Franco-Italian romantic erotic drama film directed by Bernardo Bertolucci which portrays a recent American widower who begins an anonymous sexual relationship with a young betrothed Parisian woman. It stars Marlon Brando, Maria Schneider, and Jean-Pierre Léaud.
The film's raw portrayal of sexual violence and emotional turmoil led to international controversy and drew various levels of government censorship in different venues. Upon release in the United States, the most graphic scene was cut and the MPAA gave the film an X rating. After revisions were made to the MPAA ratings code, in 1997 the film was re-classified NC-17. MGM released a censored R-rated cut in 1981. The film was rated NC-17 for "some explicit sexual content."


Contents  [hide]
1 Plot
2 Cast
3 Production 3.1 Background
3.2 Francis Bacon influence
3.3 Brando's lines
4 Post-production
5 Reception 5.1 Response in United States
5.2 International response
5.3 Accolades
6 References
7 External links

Plot[edit]
Paul, a middle-aged American hotel owner mourning his wife's suicide, meets a young, engaged Parisian woman named Jeanne at an apartment that both are interested in renting. Paul takes the apartment after they begin an anonymous sexual relationship there. He insists that neither of them share any personal information, not even given names. The affair continues on until one day Jeanne arrives at the apartment and finds that Paul has packed up and left without warning.
Paul later meets Jeanne on the street and says he wants to renew the relationship. He tells her of the recent tragedy of his wife. As he tells his life story, they walk into a tango bar, where he continues telling her about himself. The loss of anonymity disillusions Jeanne about their relationship. She tells Paul she does not want to see him again. Paul, not wanting to let Jeanne go, chases her back to her apartment, where he tells her he loves her and wants to know her name.
Jeanne takes a gun from a drawer. She tells Paul her name and shoots him. Paul staggers out onto the balcony, mortally wounded, and collapses. As Paul dies, a dazed Jeanne mutters to herself that he was just a stranger who tried to rape her, that she did not know who he was, as if in a rehearsal, preparing herself for questioning by the police.
Cast[edit]
Marlon Brando as Paul, an American expatriate and hotel owner
Maria Schneider as Jeanne, a young Parisian woman
Jean-Pierre Léaud as Thomas, a film director and Jeanne's fiance
Maria Michi as Rosa's mother
Massimo Girotti as Marcel, Rosa's former lover
Giovanna Galletti as the Prostitute, an old acquaintance of Rosa
Darling Légitimus as the Concierge
Catherine Allégret as Catherine, a maid at Paul and Rosa's hotel
Gitt Magrini as Jeanne's mother
Luce Marquand as Olympia
Veronica Lazar as Rosa, Paul's deceased wife
Dan Diament as the TV sound engineer
Catherine Sola as the script girl
Mauro Marchetti as the TV cameraman
Peter Schommer as the TV assistant cameraman
Catherine Breillat as Mouchette
Marie-Hélène Breillat as Monique
Armand Abplanalp as the Prostitute's client
Rachel Kesterber as Christine
Ramón Mendizábal as the Tango Orchestra Leader
Mimi Pinson as the President of Tango Jury
Gérard Lepennec as the tall furniture mover
Stéphane Koziak as the short furniture mover
Scenes deleted in the USMichel Delahaye as the Bible salesman
Laura Betti as Miss Blandish
Jean-Luc Bideau as the Barge Captain[4]
Gianni Pulone
Franca Sciutto
Production[edit]



 The Pont de Bir-Hakeim in Paris, where numerous scenes were shot.
Background[edit]
Bernardo Bertolucci developed the film from his sexual fantasies: "He once dreamed of seeing a beautiful nameless woman on the street and having sex with her without ever knowing who she was".[5] The screenplay was by Bertolucci, Franco Arcalli, and Agnès Varda (additional dialogue). It was later adapted as a novel by Robert Alley. The film was directed by Bertolucci with cinematography by Vittorio Storaro. Agnès Varda based the last scenes on the death of Jim Morrison in Paris in the previous year.[citation needed]
Bertolucci originally intended to cast Dominique Sanda, who developed the idea with him, and Jean-Louis Trintignant. Trintignant refused and, when Brando accepted, Sanda was pregnant and decided not to do the film.[5]
An art lover, Bertolucci drew inspiration from the works of the British artist Francis Bacon for the opening sequence of cast and crew credits.[6]
Francis Bacon influence[edit]



Double Portrait of Lucian Freud and Frank Auerbach


Study for a Portrait
The film's opening credits include two paintings by Francis Bacon: Double Portrait of Lucian Freud and Frank Auerbach and Study for a Portrait. The hues used in the film were inspired by the paintings of Bacon.[7] During pre-production, Bertolucci frequently visited an exhibit of Bacon's paintings at the Grand Palais in Paris; he said that the light and colour in Bacon's paintings reminded him of Paris in the winter, when

"the lights of the stores are on, and there is a very beautiful contrast between the leaden gray of the wintry sky and the warmth of the show windows...the light in the paintings was the major source of inspiration for the style we were looking for."[8]
Bacon's painting style often depicted human skin like raw meat and the painter's inspiration included meat hanging in a butcher shops window and human skin diseases.[8]
Cinematographer Vittorio Storaro had previously worked with Bertolucci on The Conformist and often used an azure hue in the film. Storaro later told a reporter that

"after The Conformist I had a moment of crisis; I was asking myself: what can come after azure?...I did not have the slightest idea that an orange film could be born. We needed another kind of emotion...It was the case of Last Tango.[8]
For Last Tango in Paris, Bertolucci and Storaro took inspiration from Bacon's paintings by using "rich oranges, light and cool grays, icy whites, and occasional reds combine[d] with Bertolucci's own tasteful choices of soft browns, blond browns, and delicate whites with bluish and pink shadings."[9]
Bertolucci took Marlon Brando to the Bacon exhibit and told Brando that he "wanted him to compare himself with Bacon's human figures because I felt that, like them, Marlon's face and body were characterized by a strange and infernal plasticity. I wanted Paul to be like the figures that obsessively return in Bacon: faces eaten by something coming from the inside."[8]
Brando's lines[edit]
As was his practice in previous films, Marlon Brando refused to memorize his lines for many scenes. He wrote his lines on cue cards and posted them around the set, leaving Bertolucci with the problem of keeping them out of the picture frame. During his long monologue over the body of his wife, for example, Brando's dramatic lifting of his eyes upward is not spontaneous dramatic acting but a search for his next cue.[10] Brando asked Bertolucci if he could "write lines on Maria's rear end," which the director rejected.[11]
Post-production[edit]
Schneider provided frank interviews in the wake of Tango '​s controversy, claiming she had slept with 50 men and 70 women, that she was "bisexual completely," and that she was a user of heroin, cocaine, and marijuana. She also said of Bertolucci, "He's quite clever and more free and very young. Everybody was digging what he was doing, and we were all very close."[12]
During the publicity for the film's release, Bertolucci said Schneider developed an "Oedipal fixation with Brando."[11] Schneider said Brando sent her flowers after they first met, and "from then on he was like a daddy."[10] In a contemporary interview, Schneider denied this, saying, "Brando tried to be very paternalistic with me, but it really wasn't any father-daughter relationship."[11]
Bertolucci shot a scene which shows Brando's genitals, but in 1973 explained, "I had so identified myself with Brando that I cut it out of shame for myself. To show him naked would have been like showing me naked."[11]
In 1975, Schneider recounted feelings of sexual humiliation pertaining to the sodomy scene:
“ "I should have called my agent or had my lawyer come to the set because you can't force someone to do something that isn't in the script, but at the time, I didn't know that. Marlon said to me: 'Maria, don't worry, it's just a movie,' but during the scene, even though what Marlon was doing wasn't real, I was crying real tears. I felt humiliated and to be honest, I felt a little raped, both by Marlon and by Bertolucci. After the scene, Marlon didn't console me or apologise. Thankfully, there was just one take."[13] ”
Schneider much later in life said that making the film was her life's only regret,[14] that it "ruined her life," and that she considers Bertolucci a "gangster and a pimp."[15]
In 2011, Bertolucci disavowed that he "stole her youth," and commented, "The girl wasn't mature enough to understand what was going on."[16] In 2013 he said on Dutch College Tour, a television program, "I feel guilty, but I don't regret it."[17]
Brando said to Bertolucci at the time, "I was completely and utterly violated by you. I will never make another film like that."[11] Brando refused to speak to Bertolucci for 15 years after the production was completed.[18] Much like Schneider, Brando later said he "felt raped and manipulated" by the film.[14]
Reception[edit]
The film opened in late 1972 in France, where filmgoers stood in two-hour lines for the first month of its run at the seven cinemas where it was screened.[10] It gained unanimous positive reviews in every major French publication.[19] In order to circumvent state censorship, thousands of Spaniards travelled hundreds of miles to reach French cinemas in Biarritz and Perpignan where Tango was playing.[20] Following that, it was released in the United States, Great Britain, and other venues.
The film generated considerable controversy because of its subject and graphic portrayal of sex.
Response in United States[edit]



"October 14, 1972...should become a landmark in movie history comparable to May 29, 1913—the night Le Sacre du Printemps was first performed—in music history...Last Tango in Paris has the same kind of hypnotic excitement as the Sacre, the same primitive force, and the same thrusting, jabbing eroticism. The movie breakthrough has finally come." — Pauline Kael[21]

The film premiered in New York City on 14 October 1972, to enormous public controversy, as it had received coverage after opening in France. The media frenzy surrounding the film generated intense popular interest as well as moral condemnation, and the film was featured in cover stories in both Time[22] and Newsweek[11] magazines. Playboy published a photo spread of Brando and Schneider "cavorting in the nude."[11] Time wrote,

"Any moviegoers who are not shocked, titillated, disgusted, fascinated, delighted or angered by this early scene in Bernardo Bertolucci's new movie, Last Tango in Paris, should be patient. There is more to come. Much more."[10]
The Village Voice reported walkouts by board members and "vomiting by well-dressed wives."[23] Columnist William F. Buckley and ABC's Harry Reasoner denounced the film as "pornography disguised as art."[11]
After local government officials failed to ban the film in Montclair, NJ, theatergoers had to push through a mob of 200 outraged residents, who hurled epithets like "perverts" and "homos" at the attendees. Later, a bomb threat temporarily halted the showing.[24] The New York chapter of the National Organization for Women denounced the film as a tool of "male domination."[25]
The film's scandal centred mostly on an anal sex scene, featuring Paul's use of butter as a lubricant.[26][27] Other critics focused on when the character Paul asks Jeanne to insert her fingers in his anus, then exacts a vow from her that she would prove her devotion to him by, among other things, having sex with a pig. Vincent Canby of The New York Times described the film's sexual content as the artistic expression of the "era of Norman Mailer and Germaine Greer."[28]
Film critic Pauline Kael bestowed the film with the most ecstatic endorsement of her career, writing,

"Tango has altered the face of an art form. This is a movie people will be arguing about for as long as there are movies",[10] and called it "the most powerfully erotic movie ever made, and it may turn out to be the most liberating movie ever made."[29]
United Artists reprinted the whole of Kael's rave as a double-page advertisement in the Sunday New York Times. Kael's review of Last Tango in Paris is regarded as the most influential piece of her career,[30] the American critic Roger Ebert has repeatedly described it as "the most famous movie review ever published," and he added the film to his "Great Movies" collection.[31][32]
American director Robert Altman expressed unqualified praise: "I walked out of the screening and said to myself, 'How dare I make another film?' My personal and artistic life will never be the same."[11] Review aggregation website Rotten Tomatoes retrospectively collected 31 reviews to give the film a rating of 80%.[33]
The film earned $12,625,000 in North American rentals in 1973.[34]
International response[edit]
British censors reduced the duration of the sodomy sequence before permitting the film to be released in the United Kingdom,[35] though it is not cut in modern releases. Mary Whitehouse, a Christian morality campaigner, expressed outrage that the film had been certified "X" rather than banned outright, and Labour MP Maurice Edelman denounced the classification as "a license to degrade".[36] Chile banned the film entirely for nearly thirty years under its military government,[37] and the film was similarly suppressed in South Korea and Portugal.[38]
In Australia, the film was released uncut with an R18+ rating by the Australian Classification Board on 1 February 1973. It received a VHS release by Warner Home Video with the same classification on 1 January 1987, forbidding sale or hire to anyone under the age of 18.[39]
In Italy, the film was released on 15 December 1972, grossing an unprecedented $100,000 in six days.[40] One week later, however, police seized all copies on the order of a prosecutor, who defined the film as "self-serving pornography", and its director was put on trial for "obscenity". Following first degree and appeal trials, the fate of the film was sealed on 26 January 1976 by the Italian Supreme Court, which sentenced all copies to be destroyed, (though some were preserved by the National Film Library). Bertolucci was served with a four-month suspended sentence in prison and had his civil rights revoked for five years, depriving him of voting rights.[15] In 1987, 15 years after the film's release, a new ruling allowed the film to be released in Italy.[citation needed]
In Canada, the film was banned by the Nova Scotia Board of Censors, leading to the landmark 1978 Supreme Court of Canada split decision in Nova Scotia Board of Censors v. McNeil, which upheld the provinces' right to censor films.[41]
Accolades[edit]
Marlon Brando received an Academy Award nomination for Best Actor in a Leading Role and Bernardo Bertolucci was nominated for Best Director.[42]
References[edit]
1.Jump up ^ http://www.imdb.com/title/tt0070849/alternateversions
2.Jump up ^ Tino Balio, United Artists: The Company The Changed the Film Industry, Uni of Wisconsin Press, 1987 p 288
3.Jump up ^ "Last Tango in Paris (1972) - Box office / business". IMDb. Retrieved 30 January 2012.
4.Jump up ^ Arcalli & Bertolucci 1972, pp. 21-22.
5.^ Jump up to: a b Taylor, Sophie (4 February 2011). "Last Tango in Paris star Maria Schneider dies at 58". The Week. Retrieved 5 January 2014.
6.Jump up ^ "A celebration of 500 years of British Art," Life: The Observer Magazine, 19 March 2000
7.Jump up ^ Tonetti 1995, p. 233.
8.^ Jump up to: a b c d Tonetti 1995, p. 126.
9.Jump up ^ Tonetti 1995, p. 127.
10.^ Jump up to: a b c d e "Self-Portrait of an Angel and Monster", Time
11.^ Jump up to: a b c d e f g h i Michener, Charles. "Tango: The Hottest Movie," Newsweek, 12 February 1973
12.Jump up ^ Klemesrud, Judy. "Maria Says her 'Tango' is Not," The New York Times. 4 February 1973, pg. 117.
13.Jump up ^ Das, Lina (1975-09-14). "I felt raped by Brando". London: Daily Mail. Retrieved 2007-04-21.
14.^ Jump up to: a b "Downhill ride for Maria after her tango with Brando", The Sydney Morning Herald, 21 June 2006
15.^ Jump up to: a b "Stealing Beauty", The Guardian, 5 February 2004
16.Jump up ^ "INTERVIEW: Bernardo Bertolucci", Green Cine
17.Jump up ^ "Bernardo Bertolucci interview", Dutch College Tour, NTR, 2 February 2013,
18.Jump up ^ "Legendary Oscar-Winner Bernardo Bertolucci's Career Celebrated at MoMA", Huffington Post
19.Jump up ^ "'Last Tango' Wins Raves in France," The New York Times, 16 December 1972. pg. 24.
20.Jump up ^ Giniger, Henry. "Spaniards Seeing 'Tango' in France," The New York Times, 16 April 1973, pg. 49
21.Jump up ^ Arcalli & Bertolucci 1972, p. 9.
22.Jump up ^ Last Tango in Paris Cover Story
23.Jump up ^ "Last Tango in Paris: Can it arouse the same passions now?", Independent
24.Jump up ^ Waggoner, Walter H. "Pickets Call 'Tango' Filthy as it Starts its Montclair Run," The New York Times, 26 April 1973. pg. 91.
25.Jump up ^ Johnston, Laurie. "'Women's Power' Protests 'Male Domination' of Wall St.," The New York Times, 24 August 1973, pg. 39.
26.Jump up ^ "Sick Stick". New York Post. 2007-07-23.
27.Jump up ^ Jenkins, Tamara. "Movies: About Last Tango in Paris". The New York Times. Retrieved 2010-05-07.
28.Jump up ^ Canby, Vincent. "Last Tango in Paris."
29.Jump up ^ Arcalli & Bertolucci 1972, p. 10.
30.Jump up ^ "Finding It at the Movies", New York Review of Books
31.Jump up ^ "Last Tango in Paris.", Roger Ebert website
32.Jump up ^ "Great Movies: Last Tango in Paris"
33.Jump up ^ "Last Tango in Paris". Rotten Tomatoes. Retrieved 10 January 2012.
34.Jump up ^ "Big Rental Films of 1973", Variety, 9 January 1974 p. 19
35.Jump up ^ Case Study: Last Tango in Paris, Students' British Board of Film Classification page
36.Jump up ^ "Last Tango in Paris: Can it Arouse the Same Passions Now?", Independent
37.Jump up ^ After Banning 1,092 Movies, Chile Relaxes Its Censorship
38.Jump up ^ "Bertolucci revisited: Another tango with the master of taboo"
39.Jump up ^ "View Title: Last Tango in Paris". Australian Classification Board. Retrieved 16 February 2014.
40.Jump up ^ Gussow, Mel. "Bertolucci Talks about Sex, Revolution, and 'Last Tango'," The New York Times, 2 February 1973, pg. 20.
41.Jump up ^ "Supreme Court of Canada - Decisions". Scc.lexum.org. Retrieved 2012-10-20.
42.Jump up ^ "The 46th Academy Awards (1974) Nominees and Winners". Beverly Hills: oscars.org and Academy of Motion Picture Arts and Sciences. Retrieved 27 August 2013.
Bibliography
Arcalli, Franco; Bertolucci, Bernardo (1972). Bernardo Bertolucci's Last Tango in Paris, the screenplay. New York: Delacorte Press.
Tonetti, Claretta Micheletti (1995). Bernardo Bertolucci, The Cinema of Ambiguity. New York: Twayne Publishers. ISBN 0-8057-9313-5.
 Wikiquote has quotations related to: Last Tango in Paris
External links[edit]


Flag of France.svgFrance portal
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Last Tango in Paris at the Internet Movie Database
Last Tango in Paris at Rotten Tomatoes
Ultimo Tango Em Paris MOVIE
Pauline Kael's review
Maria Schneider filmography
Last Tango in Paris - slideshow by Life magazine


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Films directed by Bernardo Bertolucci


La commare secca (1962) ·
 Before the Revolution (1964) ·
 Partner (1968) ·
 Segment "Agonia" in Amore e rabbia (1969) ·
 The Spider's Stratagem (1970) ·
 The Conformist (1970) ·
 Last Tango in Paris (1972) ·
 1900 (1976) ·
 La Luna (1979) ·
 Tragedy of a Ridiculous Man (1981) ·
 The Last Emperor (1987) ·
 The Sheltering Sky (1990) ·
 Little Buddha (1994) ·
 Stealing Beauty (1996) ·
 Besieged (1998) ·
 Segment "Histoire d'eaux" in Ten Minutes Older (2002) ·
 The Dreamers (2003) ·
 Me and You (2012)
 

  


Categories: 1972 films
French films
French drama films
Italian films
Italian drama films
English-language films
French-language films
Films directed by Bernardo Bertolucci
Censorship in Italy
Erotic romance films
Films about widowhood
Films set in Paris
1970s romantic drama films
United Artists films
Obscenity controversies










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