As most of my fellow Watchers know, I love dissecting symbolism found in various films, music videos, and television shows. I seek to find some kind of hidden message that is placed there by the elites of Hollywood, media, or whatever corporate branch of the Illuminati is involved.
One particular director stands out as having more covert symbolism than most, and that is Stanley Kubrick. You can see my dissections of his works such as The Shining or his final film, Eyes Wide Shut (a film that arguably left him an open target for murder by the Illuminati for revealing too many secrets).
Here the viewer can ‘viddy’ another of Kubrick’s masterpieces called A Clockwork Orange. I’ve long been fascinated with this film, due to the debauchery of Alex and his droogs as they raped and pillaged the English countryside. The message behind the film is actually philosophical in nature; leading it to become one of the cult-classics of the 20th century. One can see various aspects of religion, politics, big government, and mind control throughout (as you’ll see).
You can watch my breakdown of this film on YouTube (with even more images):
The purpose of this post is not to re-hash the entire story for the reader, but rather to pull out the images and symbols that I’ve found in the film. Therefore, if you haven’t seen the film feel free to do so now, as there are plenty of *SPOILERS* throughout this post.
Let’s take a look and use our ‘glazzies’ to see what symbolism is hidden in Kubrick’s adaptation of A Clockwork Orange…
First, let’s do a brief recap on the origin of the story. The novella under the same name was written by Anthony Burgess in 1962. Burgess was a writer who got his artistic start in the Royal Army Medical Corps by composing performances in the Entertainment Section of the 54th Division. He eventually transferred to the Education Corps and was given the task of teaching soldiers The British Way and Purpose– a collection of essays on justifying the British Empire and future establishments of welfare states and criminal punishment. Its overall message was that of fighting totalitarianism and injustice through “individual responsibility.”
One could take a step back and realize that Burgess was arguably involved in Psychological Operations (PsyOps) due to his indoctrination of British propaganda and beliefs. The mission was to convey this idea of how all soldiers and civilians needed to be “Responsible Citizens” who held up certain roles in society.
Burgess often times mocked these beliefs, even though he was tasked to convey them on a regular basis. He did seem to support this idea that entertainment is being used as a tool of distraction- an argument I present in my hip hop conspiracies book called SACRIFICE: MAGIC BEHIND THE MIC with talk of Francis Bacon’s manipulation through entertainment:
… he plays an instrumental role in this Illuminati/transhuman agenda because he allegedly had all these ties to the secret societies in question and showed them that you could use entertainment as a form of manipulation. You could capture an audience’s attention with a play (or music and film) much easier than preaching at them. The entertainment speaks to us on a subconscious level as well, implanting a message or theme into our mind. It’s a universal language that can speak to us through allegory and symbols.
Burgess said the following:
‘If we shirk our responsibilities, if we hand over the management of our affairs to other people, if we think that six times a week to the cinema is better than doing a job for our neighbourhood and for our country then we are inviting dictatorship’
This idea of a “Responsible Citizen” is where we see roots for A Clockwork Orange taking place. The government seeks to create a league of “responsible citizens” through mind control experiments, but there will be more on that later…
There are various urban legends about Burgess writing this novel because he was diagnosed with a non-operable brain tumor and wanted to provide income for his wife in the event of his passing, but I’ve also read that he made this up, for whatever reason. The origin of the brain tumor diagnosis was from 1959, but he proceeded to live until 1993, so take from that what you will. Perhaps someone out there who is more well-versed in Burgess’ life can provide some insight in the comments below. To me it seems amazing that he would live so long with a brain tumor, considering that he was known to drink gin by the case and smoke up to 4 packs a day.
As I discuss elsewhere in this post; Burgess’ novella featured a final, 21st chapter that was omitted from both the American published version and Kubrick’s film adaptation. Burgess argued that this 21st chapter was important from a stance of numerology because it was the number that represented human maturity. This American version of the book was the one Kubrick used to create the film in 1971.
In 1986 Burgess re-released the book with all of the chapters, and it also had a foreword that relayed his disdain for the book’s notoriety. (*I’d like to mention that this book is incredibly hard to read with the pervasive use of his fictional Nadsat language- I recommend watching the film first*). He discussed his opposition to the removal of Chapter 21 for reason of both numerology and character progression:
“Novelists of my stamp are interested in what is called arithmology, meaning that number has to mean something in human terms when they handle it.”
In the controversial, previously omitted final chapter, Alex reforms and loses interest in violence and things of that nature. He progresses in character, or moral transformation- a key attribute to any “real” novel (as Burgess suggests). Also- here is where we get another hint of why this novella was titled A Clockwork Orange:
“My young hoodlum comes to the revelation of the need to get something done in life- to marry, to beget children, to keep the orange of the world turning in the rookers of Bog, or hands of God, and perhaps even create something- music, say.”
He also says that man is a clockwork orange “meaning that he has the appearance of an organism lovely with colour and juice but is in fact only a clockwork toy to be wound up by God or the Devil or the Almighty State.”
Another reason for the title is found in the book where we learn that the writer was typing away at a book called A CLOCKWORK ORANGE and Alex says:
“That’s a fair gloopy title. Who ever heard of a clockwork orange?“
He then reads a passage:
“-The attempt to impose upon man, a creature of growth and capable of sweetness, to ooze juicily at the last round the bearded lips of God, to to attempt to impose, I say, laws and conditions appropriate to a mechanical creation, against this I raise my swordpen.“
Burgess believed that the US (and Kubrick, effectively) omitted the 21st chapter because they thought the Americans were “tough enough” to handle this darker ending. Here is where we see the seeds of manipulation being sewn with allegations that the US wanted a certain agenda to be perpetuated.
Burgess said that “what was really wanted was a Nixonian book with no shred of optimism in it. Let us have evil prancing on the page and up to the very last line, sneering in the face of all the inherited beliefs, Jewish, Christian, Muslim and Holy Roller, about people being able to make themselves better. “
This supports the idea that the Illuminati seek to influence Americans through pop culture and covert PsyOps- bringing us full circle into my realm of IlluminatiWatcher.com symbolism and Illuminati allegations.
NOW, let’s take a look at what Kubrick placed in the film…
Symbolism in Kubrick’s adaptation of ‘A Clockwork Orange‘
First, let us revisit the film one sheet (poster). Here we see the main character, Alex, as he is sporting an outfit with an eye on the sleeve cuff. Notice how close to the apex of the pyramid the eye sits:
This is very obviously a reference to the American dollar bill and its illuminated apex on the Great Seal:
The first shot of the film also reinforces the All Seeing Eye symbolism of Alex with his highlighted right eye:
The right eye is symbolic of the Egyptian sun god, Ra; or simply the power of the masculine divine. I’ve explained this in my post about the symbolism behind the triangle/pyramid:
The ancient deities that were affiliated with the sun were done so in order to convey the symbolism of strength and power (e.g. the Egyptian gods Horus and Ra, or the goddess Isis). The association of power and the sun eventually finds its way into a symbol for male power. This is appropriate since patriarchal-dominated societies are known for wars, primal urges, aggression and instantaneous flare ups.
The book makes no mention of his eyelashes specifically, so I’m led to believe that Kubrick fabricated this aspect of Alex’s character due to his knowledge of Illuminati secrets (see the IlluminatiWatcher’s ‘The Shining’ Symbolic Analysis).
To tie into The Shining a bit more, we could look at a great analysis posted on UCLA’s website that draws on some of the analogies Kubrick had with 2001 and this film. First, the homeless person at the beginning of the film talks about the NASA program (which Kubrick allegedly shot the fake moon landing photos in exchange for a blank check to film 2001):
“What sort of world is it at all? Men on the Moon? Men spinning around the Earth? And there’s not no attention paid to law and order anymore.”
That same paper also talks about the battling apes at the beginning of 2001 and how they are meant to symbolize Alex and his droogs as they fight Billyboy and his gang at the dilapidated theater.
One thing they didn’t mention in that paper is the end of 2001 and how the Star Child is the last shot, while the first shot of A Clockwork Orange is a pan out from Alex- implying he might be the moon man of alchemical transformation. In the chronology of Kubrick films, 2001 was the film just prior to A Clockwork Orange so effectively they do imply that Alex is the rebirth of the Star Child:
Getting back to the sequences in the film; the first shot introduces the viewer to the Korova Milk Bar. This is a place where the crew gets high on milk laced with various drugs (you can see the names on the walls around them):
The film uses symmetry to show us various relations of drugs, music, and consumption of sex & violence; ALL themes that are seen throughout entertainment fueled by Illuminati symbolism. For instance, at the beginning Alex and his gang are hanging out at the Korova Milk Bar which sells drugs called Milk-Plus (“plus” meaning Vellocet, Synthemesc, or Drencrom) in order to “sharpen you up for a bit of the ol’ ultraviolence.” The gang then goes out and conducts murder and rape and so-on. In the middle of the film we see Alex being subjected to mind control experiments using more drugs. In this experiment called the Ludovico Technique, Alex is exposed to scenes of graphic violence and given a negative reaction to them so that he feels sick anytime he’s put into a similar situation. By the end of the film we see Alex get out of prison and being subjected to violence when his old friends nearly kill him.
As Watcher “XYZC” commented below; the term ‘moloko’ sounds an awful lot like the Moloch deity I speak of so often. I have an entire post on Decoding Illuminati Symbolism: Moloch, Owls, and Satan in which you can see that there is a long historical precedence of Illuminati buggery with this horned deity, so perhaps it’s not so crazy to mention this aspect as well. Moloch was used to sacrifice children to, and A Clockwork Orange might contribute to that with a concept of ‘wasted youth’.
After the droogs get ‘sharpened up’ at the Milk Bar, they stumble across a rival gang led by Billyboy, who you’ll notice is covered in Nazi propaganda:
Kubrick was Jewish, but married into a family that had Nazi connections through his wife’s (Christiane Harlan) uncle, Veit Harlan, a man known for directing Nazi propaganda films like Suss the Jew. Also, Operation Paperclip saw an influx of Nazi scientists into America like Wernher von Braun who helped NASA get to the moon; again tying us into The Shining and the conspiracy theories that Kubrick was exposed to the Illuminati agenda.
After the gang fight we see the droogs head into the night in a stolen Durango 95:
And you’ll notice they get off on playing chicken with oncoming cars. One of these oncoming cars is a Volkswagen Beetle; a car designed by Adolf Hitler:
We saw some buggery in my analysis of The Shining with the purposeful changing of colors of the Beetle as well:
The Volkswagen Beetle we see here is red and is crushed under the tractor trailer. The Beetle in King’s novel was red, so this could be viewed as a hostile move on Kubrick’s part. Why he did it, I’m not sure, because King was initially excited that Kubrick was making a film about his novel. King submitted a screenplay to Kubrick, which he actually turned down, so perhaps at this point some words were exchanged and prompted this scene.
The Durango 95 pulls up to the destination of “HOME” and the boys proceed to go inside for a bit of the ultraviolence. For this next bit, I’d like the reader to take notice to the twin pillars in the center of the image (we’ll explore this here in a second):
The crew rings the doorbell and we first see the idea of reflection and mirroring concepts when the female answers the door:
Kubrick loved exploring the duality of man in his films and showing different aspects of humanity like the contradiction of love and war (like in Full Metal Jacket when Joker is wearing a peace pin). Also, notice that the floor has the checkered pattern which is found in all Freemason lodges, known as “Moses Pavement” which also symbolizes the duality of man:
There’s also this aspect of mirrors that suggests we’re going to be witnessing some mind control. In Freeman Fly & Jamie Hanshaw’s post about the Top 10 Signs of Mind Control, you’ll see that the symbolism of a mirror is prevalant in pop culture mind control examples:
Inside the car, which happens to be the “Pussywagon” from Tarentino’s movie Kill Bill, Gaga and Beyoncé engage in a strange dialogue between two mind-controlled slaves. The phrase Beyoncé says, “Trust is like a mirror. You can fix it if it’s broke”…and Gaga replies “but you can still see the crack in the motherfucker’s reflection”, can refer to a cheating boyfriend and can also refer to the permanent damage caused by the fragmenting of one’s personality in mind control.
The crew barges in and proceeds to rape the woman while making the husband watch (he is the ‘writer’ revealed to have the name of F. Alexander in the book). This is the scene where actor Malcolm McDowell (who plays the role of Alex) improvised the song and dance for Kubrick as he proceeded to smash fellow droogie, Dim, in the balls with his cane while “Singin’ in the Rain”:
The irony of this is that Alex wacks Dim in the balls with his cane in a playful manner (and later he does it in a not so playful manner), but this is what years later we would see the stars of Jackass do on a regular basis. In the film Idiocracy we also see a dystopia future with a show called Ow, My Balls that depicts a dumbed-down America getting off on watching violence; particularly a man getting wacked in his balls.
You’ll also notice that the writer starts out as a victim of the violence, but by the end of the film becomes the perpetrator of it when he forces Alex to attempt suicide by playing Beethoven’s 9th into Alex’s room. Perhaps this is why we see the twin pillars of transmutation of man; Boaz and Jachin at the entrance to the writer’s “HOME”:
The single tower rising up between the previous twin towers is symbolic for the equilibrium of two opposing forces, but the twin pillars themselves represent the entrance to a ‘mysterious’ place, perhaps the transformation of man through the alchemical process of becoming enlightened. This is why they were at the entrance to Solomon’s Temple and found at every Freemason temple.
We also see them again at the end when Alex is left for dead and in need of help, marking yet another transformation/progression of his character:
An even stranger idea revolving around these duality aspects are the occult beliefs in uniting the duality of man into one essence. The much-revered Baphomet comes from a long line of occult imagery that seeks to convey the “perfection” of androgynous beings who feature sex organs of both male and female:
Aleister Crowley believed that all things labeled as opposites, were in reality the same, and actual unities. This is why the alleged satanic Process Church of the Final Judgment (an offshoot of Scientology) seeks to unify the Church and Satan, because they believe in this unification idea. One person who took these ideas of the Process Church and ran with them is Genesis P. Orridge. He is also known for creating industrial rock in the ’70s which influenced David Bowie and Nine Inch Nails.
He’s also known for turning himself into a pandrogyne, seeking to merge man into woman:
I don’t want to get too far off topic, but Genesis is tied into all sorts of occult magick, Crowley, and modern rock. There’s a full in-depth post about the entire conspiracy behind the music industry and the Satanic roots here at 1260.info:
In his book, The Ultimate Evil, investigator author Maury Terry writes that between 1966 and 1967, a Satanic-group the Process Church Cult [PCC], sought to recruit the Rolling Stones and the Beatles. He also goes on to implicate the PCC in the Charles Manson and Son of Sam [David Berkowitz] multiple murders. A key link between the Rolling Stones and the PCC, is Kenneth Anger, a follower of Aleister Crowley the founding father of modern day Satanism.
Genesis is credited for starting the performance-avant garde art movement called COUM Transmissions, an idea that came to him from a disembodied voice. One of his first performances was a mash up of A Clockwork Orange and The Electric Kool-Aid Acid Test called Clockwork Hot Spoiled Acid Test, which brings us back to our main subject at hand.
Another tie-in with this pandrogyne aspect is that the person who created the score for both A Clockwork Orange and The Shining was a woman named Wendy Carlos. She originally was known as Walter Carlos until she had the sex reassignment surgery (although not for the same reasons we saw Genesis P. Orridge go through with it).
As another side note (last one, I swear)- the large man we see in A Clockwork Orange living with the writer is actor David Prowse, who also played the role of Darth Vader in Star Wars. This makes him no stranger to occult symbolism in film since Darth Vader is symbolic of the Kabbalah Tree of Life and the Da’at sephirot (Darth was a title given to Sith lords in the Star Wars storyline; a name that represents the dark side). The Da’at Sefirot in occult belief systems represent the destruction of the ego and entrance to the Dark Side of the Tree of Life; aka the Abyss. Learn more about the Kabbalah secrets in my post dedicated to that subject.
Getting back on track with the film sequence, after the brutal rape we see Alex get back to his parent’s apartment and we see more mirror symbolism. We also see that Alex has a severed eye stitched onto his sleeve cuff; yet more All Seeing Eye symbolism. These things don’t have any mention in the book so I’m led to believe that Kubrick came up with these themes.
Here we are also introduced to Alex’s pet snake, Basil. This also doesn’t appear in the book, so it seems that Kubrick was conveying an evil side of Alex with this addition. The snake has long been depicted as an embodiment of evil, most familiarly in the Bible with the story of Adam and Eve:
In case you didn’t buy that theory, take a look at another shot of the serpent as he moves above figures of Jesus:
While in his room we first learn about Alex’s penchant for listening to classical music. Kubrick focuses in specifically on Ludwig van Beethoven.
What’s interesting about this is that the book details all different kinds of classical composers and only mentions Beethoven a couple of times. Perhaps Kubrick was tipping his hat to Beethoven’s alleged involvement in the Illuminati, as author Barry Cooper makes mention of in his biography book, Beethoven:
The next morning Alex sleeps in and skips school, complaining of a “pain in the gulliver”. In the book, we learn that all people who are not ill, nor with child must work at one of many state-run places of employment. Alex’s mother works at the ‘StateMart’ grocery store stocking shelves, a task that Alex refers to as “rabbiting.”
Alex’s father was played by Philip Stone, who was also Delbert Grady, the caretaker in The Shining:
Note the mirrors in The Shining:
While he is home he is paid a visit by P.R. Deltoid; his post corrective advisor. This is presumably similar to a probation officer, but what makes this scene notable is that Alex is prancing around the house in his panties (in the book he’s wearing a robe), and then Mr. Deltoid grabs his crotch:
This reminds me of Kubrick’s display of child abuse in The Shining where it seems that Jack has been sexually abusing Danny:
Unfortunately, this is also an Illuminati practice for various reasons, including known high-level rings of pedophilia like the Franklin Cover-Up, or just overall occult sexual depravity like Aleister Crowley wrote about when he talked about how children should be exposed to all things sexual in nature from a young age.
I’ve listened to several podcasts and YouTube videos about Clockwork and nobody seemed to have caught the subtlety placed soundtrack to 2001: A Space Odyssey (the Kubrick film released prior to Clockwork) placed in the record shop. Take a look; do you see it?…
Whilst in the record shop, Alex confronts the two ladies who are sucking on popsicles. This is also a detour from the book because the girls in the book are only 10 years old (while Alex is 15). In the film we presume his name is Alexander DeLarge, but in the book he calls himself Alexander The Large before he rapes these two 10-year olds. In fact, the first time we learn of Alex’s sexcapades in the book is much more disturbing than the film. In the book the “humble narrator” says the following:
“Well, they would grow up real today. Today I would make a day of it. No school this afterlunch, but education certain, Alex as teacher.”
You’ll also see a reference to a pop singer named Johnny Zhivago on the track list. This is in the book as well, which is strange because there was a film released in 1965 called Doctor Zhivago. Kubrick loved that the director of Doctor Zhivago, David Lean, billed his films with his name in front of the title (ex: David Lean’s film of Doctor Zhivago). Kubrick insisted he get the same treatment so the film was billed as Stanley Kubrick’s Clockwork Orange.
Kubrick wanted people to recognize his superstar status and to also let everyone know that even though Burgess wrote the book, Kubrick directed, authored the screenplay, and produced this film, giving him complete artistic control.
After the sex scenes there is a failed attempted coup of Alex from his droogs, and later they set him up to get caught during a house burglary. In the film, Alex bludgeons a woman to death with a statue of a penis (after telling her she’s “naughty, naughty, naughty!”). In the book the penis statue isn’t there, but rather a bust of Ludwig van Beethoven. Was Kubrick trying to say that Beethoven was an Illuminati dick?…
In the book Alex is whipped across his eyes with a chain, while in the film we see Dim smash a bottle of milk across Alex’s face before the police arrive. Perhaps Kubrick thought the symbolism of the milk was more important since the Korova milk bar was the only set that was built for the film.
Alex eventually finds himself incarcerated under the prison number 655321, which is actually 6655321 in the book. Does anyone have any ideas on why Kubrick dropped one of the 6’s? If you do, comment below. I’ll have a theory later on…
To stay on the theme of Nazis; take a look at the Chief Guard of the prison in which Alex finds himself in and you’ll see a marking resemblance to Adolf Hitler:
After a couple of years in prison, Alex figures out a way of getting into an experimental government program used to brainwash prisoners into being functional members of society (the “Responsible Citizen” I alluded to at the beginning of this article). This would be known as the “Ludovico Technique”. This Italian name isn’t really explained in the book or film, but I’ve got a theory I’d like to propose. I suggest that it’s a play on Ludwig van Beethoven because in the film/book we learn of Alex’s affinity for Ludwig’s Violin Concierto. You’ll see the ability to pull out certain letters:
Ludwig’s Violin Concierto=Ludovico
The mind control aspects of the film are prevalent here, as we see MKULTRA type experiments, a CIA program I detail in SACRIFICE: MAGIC BEHIND THE MIC:
The COINTELPRO project managed to deter many subversive groups like the Ku Klux Klan, the Socialist Workers Party, and the Black Panthers. The program didn’t end until 1971 when it was exposed and turned over to media outlets. Similar to the MKULTRA mind control program of the CIA, we are left to believe that it simply no longer exists under a different name, even though it was shut down only after its exposure. No matter what ever became of this program, its effects were long lasting.
Alex get all sorts of plugs jammed onto his head, which is something we see from other victims of mind control like Britney Spears and Michael Jackson. I detail this out further in an article on MJ’s mind control sketches:
The celebrity public melt down that was most notoriously remembered was when Britney shaved her head and said that she was tired of doing what her handlers wanted. FreemanTV.com posted up an great article about mind control and Hollywood, and here’s a small excerpt from it about Britney:
Britney Spears’ career is a perfect case study of trauma-based mind control in the entertainment industry. From Lolita/kitten themes to group sex to Mars and clone labs, practically every aspect of MK ULTRA programming can be witnessed in her career. When her music videos are watched in chronological order, they tell a horrific story of never ending enslavement.
During the mind control experiment, Alex is subjected to various videos of graphic nature and violence. Here we see even more Nazi symbolism (which is in the book as well; so I can’t claim that Kubrick came up with this):
In the book, we also find out the origin of the strange language of this tale (referred to as “Nadsat”) when Dr. Branom tells Alex that Nadsat was Slav propaganda with subliminal penetration. This supports many of the theories I present on IlluminatiWatcher.com which detail symbolism; a language that I argue the Illuminati is using to persuade us on the subconscious level.
After being subjected to the Ludovico Treatment, Alex is released, but Karma bites him in the arse and his old droogs (now policemen) find him. Here is where I believe the missing ‘6’ from Alex’s prison number shows up because you’ll notice Dim has the number 665…
…while Georgie (who in the book is dead and gone and replaced by Billyboy) is number 667:
…which leaves the missing number between the two of ‘666’ and that last 6 is where Alex’s prison number lost its 6. If you have a better idea leave a comment at the bottom, I’d love to hear it.
After being left for dead, Alex stumbles into a house which is the same “HOME” from earlier where he conducted the rape. You’ll also notice that the doorbell is to the tune of Beethoven’s Fifth Symphony; another addition by Kubrick. Also- notice how odd the reflection of the mirror is. It appears to be on a flat wall, yet is reflecting the black and red chair behind it:
In the film we see that the writer is seeking to use Alex for political gains and make him attempt suicide by blaring Beethoven into Alex’s locked room (with a window being the only means of escape). In the book we have a similar setup, but Alex actually takes a look at the book the writer (F. Alexander) was typing away at called A Clockwork Orange before taking the plunge, pulling the reader full circle back to the beginning where Alex originally ripped the book up before raping his wife. This is also where Alex realizes that F. Alexander shares the same name as him.
Alex doesn’t quite “snuff it” but rather gets hospitalized as the media frenzies over this mind control experiment gone wrong:
At this point the Minister of the Interior pays Alex a visit and informs him of the ‘new deal.’ He tells him that the writer wrote “subversive” literature and the government “put him away” for Alex’s protection. He then offers Alex a job within the government to help relay the message as a PsyOp so they can get re-elected:
Here is where the film concludes, omitting the 21st chapter where Alex reassesses life and determines that he has matured and will no longer take part of the debauchery and ‘ultraviolence.’ He ponders on a future family with a son that might take the same path he did after coming across an old droog of his (Pete).
Here is one theory as to why Kubrick didn’t include this aspect (besides the ‘official’ story that claims he didn’t know about the 21st chapter until they were almost done filming). I propose that Kubrick was interested in exploring this idea of an anti-hero. This ‘dark hero’ concept wasn’t all that popular in the ’70s and that makes Kubrick cutting edge. This is a concept I explored in a post about Illuminati dark hero programming in film and television:
I’m posting about this doc because it is a demonstration of the ability for the entertainment industry to paint traditionally “bad” guys as the hero. The concept of the dark-hero and his /her ability to gain sympathy from the audience is evident in this example. Even though they are definitely evil, or “bad,” they are portrayed in a light that lets you know they are just a human with good intentions. It somehow tries to show us that the ends justify the means, and evil is not really all that bad.
For example, the show Dexter has the main character who is a serial killer (albeit a vigilante), but you find yourself rooting for this killer. Same goes for pretty much any rapper who glorifies violence. And of course, the ultimate in manipulation comes from Disney who is taking a turn for the dark side through films such as Maleficent that shows us the tale of Sleeping Beauty through the eyes of the evil villain (although I’m sure we’ll feel bad for her at some point). In fact, Disney has a new show called Descendants that focuses entirely on all of the villains!
This anti-hero agenda makes us actually sympathize with Alex or perhaps identify with him, even though the book shows us he is a murderer who raped two 10-year olds! I’m not saying I’m not fascinated with Alex’s character as well, but these entertainers take it to a new level. For example… (from TheGuardian):
It was the moment, perhaps, when A Clockwork Orange ceased to be dangerous. In Cardiff in April 2002, halfway through the first night of her world tour, after a blast of Beethoven’s Ninth, Kylie Minogue pranced on stage – in a black bowler hat and a white jumpsuit. She then launched into Spinning Around, surrounded by dancers dressed as truncheon-swinging droogs in red codpieces.
Minogue was by no means the first to borrow A Clockwork Orange’s iconography over the past 40 years. In live music alone, such a list would include David Bowie, Led Zeppelin, countless punk bands, Madonna,Megadeth and Sepultura, as well as Blur, Usher and Lady Gaga, who, in her live shows last year, made her entrance to the film’s theme music. And with each new appropriation, it gets that little bit harder to remember what all the fuss was about in the first place.
Here’s one last thing I’d like to show you that I’ve not seen anyone cover yet. Given all of the mind control and brainwashing subjects within the film, I find it interesting that the last shot of the movie shows us a woman with an MKULTRA Project MONARCH butterfly over her face (take a look at the far left, all the way towards the front):
Overall, this film seems to explore aspects of free will, science vs. God (with the Ludovico Technique mind control), and even predictive programming (the film was controversial in that it sparked many copycat crimes). Kubrick was once again ahead of his time and gave you and I tools to uncover the deception with films like these.
I’ve got a comprehensive e-book and 2+hour documentary video that compiled several of Kubrick film analysis’ (A Clockwork Orange, The Shining, Eyes Wide Shut AND the exclusive 2001: A Space Odyssey) into a downloadable PDF & video project I called KUBRICK’S CODE. Check it out here:
Or pick up one of the bundled packages with KUBRICK’S CODE in it:
Thanks for looking and if you have any ideas feel free to comment below.