In a near-future Britain, young Alexander DeLarge and his pals get their kicks beating and raping anyone they please. When not destroying the lives of others, Alex swoons to the music of Beethoven. The state, eager to crack down on juvenile crime, gives an incarcerated Alex the option to undergo an invasive procedure that'll rob him of all personal agency. In a time when conscience is a commodity, can Alex change his tune?
In a near-future Britain, young Alexander DeLarge and his pals get their kicks beating and raping anyone they please. When not destroying the lives of others, Alex swoons to the music of Beethoven. The state, eager to crack down on juvenile crime, gives an incarcerated Alex the option to undergo an invasive procedure that'll rob him of all personal agency. In a time when conscience is a commodity, can Alex change his tune?
The film consciously critiques ideological extremes from both sides, exploring the complex tension between individual liberty and state control without advocating for one over the other, instead highlighting the moral compromises inherent in both.
The movie exhibits traditional casting with a predominantly white male cast and no intentional race or gender swaps. Its narrative focuses on themes of free will and state control, without explicitly critiquing traditional identities or incorporating DEI themes as central elements.
The film adapts Anthony Burgess's novel. In the source material, Dr. Branom, a key figure in Alex's re-education, is male. In the 1971 film, this character is portrayed as female, constituting a gender swap.
The film portrays institutional Christianity, primarily through the prison chaplain and the state's use of religious imagery, as ineffective, hypocritical, or complicit in dehumanizing practices. It critiques the superficiality of forced morality and the co-option of religious themes for state control, rather than affirming the faith's virtues.
A Clockwork Orange does not feature any identifiable LGBTQ+ characters or themes. The film's focus is on themes of free will, societal control, and violence, without incorporating queer identities into its narrative.
The movie does not contain any action or adventure elements.
The film adapts Anthony Burgess's novel, where characters like Alex DeLarge and his droogs are implicitly white within a dystopian British setting. The 1971 film portrays all major characters with white actors, consistent with the source material's implied racial depictions.
Combines user and critic ratings from four sources