A Clockwork Orange

Kubrick’s A Clockwork Orange also reflect his style as an auteur particularly well especially regarding the themes of which Kubrick shows interest  in and the way artistic concepts are explored. Again, A Clockwork Orange can very much be considered to post-modernistic, and it is the way in which Kubrick explores his interest in human nature, mainly the darker side, that generates the depiction of post-modernism.

A consistency throughout many of Kubrick’s works is the prominence of ‘psychopathic’ characters. Alex is the most obvious when discussing Kubrick’s psychopaths; his lack of empathy is the most clear indication of his psychopathic tendencies. He enjoys violence as an art form, picks his victims at random, is very sexually promiscuous and pursues his fantasies of dominance and power. But what makes Alex even more sadistic is the fact he has a tremendously attractive side; he has an admirable appreciation for classical music, he is extremely witty and smart and is often considered quite handsome.  Kubrick once said “I'm interested in the brutal and violent nature of man because it's a true picture of him.”

Similarly to 2001, the score in A Clockwork Orange is undeniably great. From Beethoven to the edgy synths, Kubrick’s use of sound is well executed and something distinguishes him as an auteur. Moreover, Kubrick’s striking cinematography is also consistent in A Clockwork Orange, especially the use of wide camera angles making for some quite distorted shots. Long tracking shots are also a notable technique of Kubrick’s, mostly prominent in The Shining, however A Clockwork Orange includes these shots frequently.