A Clockwork Orange (1971)
Friday, February 24 at 12am | Saturday, February 25 at 12am

“Disturbed though we were by the first half of the film, which is basically a statement of some of the problems of violence, we were, nonetheless, satisfied by the end of the film that it could not be accused of exploitation: quite the contrary, it is a valuable contribution to the whole debate about violence” – British Board of Film Classification, 1971

We all know Stanley Kubrick’s A Clockwork Orange even if we’ve never seen it. The eponymous film (based on the 1962 dystopian novella by Anthony Burgess) celebrates its fortieth anniversary this month and, in those four decades, has wholly absorbed into the pop-cultural lexicon. It has become a unique cult film that revels in Science Fiction yet remains completely outside of any totalizing genre categorization. The still shockingly visceral “ultra violent” representations of power struggles and the political in A Clockwork Orange’s remain very much relatable (and appealing) to audience’s today.

…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 – Stanley Krubrick

At Hatched we know that much that can be said about A Clockwork Orange already has been and has been said quite well.  Yet, there are still some sharable goodies that will hopefully continue to shape our interest in the film, whether it’s the first time we’ve seen it or the millionth. So before you “drink the milk”, take a gander:

*Read the British Board of Film Classification case study on A Clockwork Orange that explains why it isn’t a Video Nasty (though those are fun). Fact: you could only watch it in the UK starting in 1999!

*In celebration of its 40 year anniversary, check out this interview with Malcolm McDowell (who starred in another controversial film, Caligula) and Leon Vitali on Collider.

*Though set in England and not technically centered in London, many of the film locations in A Clockwork Orange were shot in the city (with a lot in the South). Here’s a pretty nifty location map of areas that housed some of the notorious scenes.

*People love a good apocalyptic story and there are the book clubs to prove it. The Post-Apocalyptic Book Club in London is reading/discussing A Clockwork Orange on February 29. If you don’t live in the Uk never-fear, we have our own Post-Apocalyptic Book Club right here in Brooklyn. 

*A Clockwork Orange wouldn’t be what it is without the synth sensations of Wendy Carlos (who also did the music for The Shining and Tron. This is what Carlos said after Kubrick’s death:

I was one of the few artists to have works more than once with him. The experience and memories are indelibly etched on my brain. The face-to-face meetings for spotting music to compose for “A Clockwork Orange” and “The Shining” couldn’t have lasted very much more than a week or two each for me and my then partner and producer, Rachel…Since my none-too-portable studio was located in New York, and Kubrick didn’t travel, the rest of the collaboration took place via long phone calls and messages, express packages of cassettes, tapes, film and video footage, and written memoirs and notes..

And finally, watch this 30-minute gem from 1972 that socially critiques A Clockwork Orange: