A Clockwork Orange Lecture 1

When the minister of interior enters alexs room its

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When the minister of interior enters Alex's room it's almost a defining factor of his life; these surreal juxtapositions of the expected and the unexpected such as the crucifix/naked women (expected) and the Beethoven statue/portrait (unexpected) The chaplain is the moral voice of the film. The central question in the film is Do we lose our humanity if we are deprived of the choice between good and evil? There is rapid motion in the montage of the homeless bums attacking Alex. The use of hand held camera when the drogs-turned-police are dragging Alex to the well transitions from the front to the back. We are, in a sense, following behind Alex, waiting to see what retribution awaits. The long shot of the three walking in front appears to last forever. **For exam: look at two filmmakers, and compare them The end of the film brings back the close up and then the pull back (when Alex goes crazy b/c of Beethoven), one of the best camera moments of the film...Alex as the camera falling to the
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ground “Singing in the Rain” is a lighthearted tune associated with the rape of the writer's wife He goes back to his original self in the end, back to the beginning gaze we saw at the beginning The deal between the minister and Alex at the end is based strictly on power He is turned into a zombie, a “clockwork orange”, but at the end, is back to his normal self The movie is a social satire The end makes the beginning of the film a little more resonant, more scary
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  • Fall '10
  • WALTERKORTE
  • A Clockwork Orange, Alex, Stanley Kubrick, Kubrick, clockwork orange

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