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Stanley Kubrick: Clockwork Orange
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ONE OF THE MORE notable things about the obituaries following Stanley Kubrick’s death in March this year was the lack of consensus with regard to his achievements. All were agreed that the man had made great films, but which films those might be varied widely, the choices spanning his entire career: Dr Strangelove, 2001: A Space Odyssey, Paths of Glory, even The Killing was mentioned. A lack of accord would seem inevitable given such a varied career. Critic David Thomson has always chosen The Shining, citing its fairy tale qualities and a perceived autobiographical subtext about artistic crisis (”Why does Jack Nicholson look and dress like Kubrick?” he asks). In France the often vilified Barry Lyndon and A Clockwork Orange (L’Orange Mecanique) still receive cult veneration.
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Stanley Kubrick’s ‘A Clockwork Orange’ brings together new and critically informed essays about one of the most powerful, important and controversial films ever made. Following an introduction that provides an overview of the film and its production history, a suite of essays examine the literary origins of the work, the nature of cinematic violence, questions of gender and the film’s treatment of sexuality, and the difficulties of adapting an invented language (‘nadsat’) for the screen. This volume ... includes two contemporary and conflicting reviews by Roger Hughes and Pauline Kael, a detailed glossary of ‘nadsat’ and stills from the film.
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Stanley Kubrick's 1971 equally alarming psycho-fantasy Clockwork Orange harmonized the criminally-minded crooning of Singing In The Rain with brutally dispatching murder victims to the afterlife. But it was as ironic commentary and determined disorienting reflection on the peculiar popularity of violence as giddy pathological mass entertainment in its own right, in modern times. Unlike Clockwork Orange, the emotionally flat Sweeney Todd just mindlessly goes for the jugular like your basic slasher fare, with creepy relish.
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Still, it is difficult to lament a film by Stanley Kubrick that was not finished, as certainly his cinematic career was complete by any standards. From comedy to war to epic to science fiction to horror and so on, there was little that he didn't tackle. And the subjects he tackled were almost always a step ahead of everyone else. At the height of the Cuban Missile Crisis, he began Dr. Strangelove, which awakened people to the absurdity of cold war sentiments (... a pie fight seen in the War Room where President Muffley dies was left on the editing room floor after the JFK assassination.) At the time when the ideas of an Aquarius age that was dawning and Von Daniken's Chariot of the Gods ancient astronaut theories were blooming, he released 2001. And when the cheery optimism of the flower children start souring, A Clockwork Orange was released. Further, even before Lolita, a little scene was edited out of Spartacus (later included in a later release of it) of Laurence Olivier being given a bath by a stripling Tony Curtis, as they discuss the respective merits of eating snails versus oysters.
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Stanley Kubrick's frequent collaborator and brother-in-law, Jan Harlan, offers a fascinating inside look at the genius behind such films as 2001: A Space Odyssey, A Clockwork Orange, Full Metal Jacket and Dr. Strangelove. Narrated by Tom Cruise, the documentary features interviews with family members as well as colleagues, including Jack Nicholson, Nicole Kidman, Malcolm McDowell, Steven Spielberg, Martin Scorsese and more.
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Stanley Kubrick's "A Clockwork Orange," secured his place in movie history. Jeremy Northam, one of Britain's finest actors starred opposite Michael Caine in "The Statement"; "The Singing Detective," with Mel Gibson and "Possession," with Gwyneth Paltrow.
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