I really struggle reading rape scenes so haven't read the book yet. In the end, I think most people will realize that is what they take out of any bit of fictional work, be it written, directed, composed or coded; something new to think about and chew over. [â]jackaroojackson 1 point2 points3 points 1 year ago* (0 children). I have a slightly different opinion from the rest. No God = no meaning but what delusions we dabble in. For A Clockwork Orange in particular, I prefer the movie ending better (again, in theory, since I haven't read the book) for a couple of reasons. He went back to his old ways, but in a manner that is acceptable by the government and society. there seem to be no life affirming aspects to its world while there are myriad condemnations of behavior), misogynistic (there are several leering scenes involving fully naked women being sexually abused by fully clothed men) and preachy (lots of in your face antiestablishment humor). Then the Governor has the giant speakers brought in and classical music blasted, and once again Alex, rather than reacting with violent nausea, reacts as we'd seen him when in his bedroom at home listening to Beethovan: He grins orgasmically at the sick fantasies playing on his (to use Kubrick's term) mindscreen. Huh that makes sense actually. Martin Scorsese Unsure He Can Recapture âThe Irishmanâ Spark for âKillers of the Flower Moonâ, Soul review: a triumphant return to Pixarâs most ambitious storytelling, Cliffhanger: an alternative explosive action flick for the seasonal Die Hard fans - The exceptionally dumb-but-great film has all the snow, explosions and stunt work you ever wanted for Christmas â plus, Sylvester Stallone. Usually they will realize they went wrong and try to make up for it themselves, which means so much more than just behaving well because you'll puke everywhere if you don't. When I read the book, with its twenty-first chapter intact, I found it a less morally absurd experience overall because its author proposed an idea of objective righteousness (i.e. from Montreal, Canada is reading, Patrick Riley But Fight Club has a bit different message about violence. A Clockwork Orange is a dystopian satirical black comedy novel by English writer Anthony Burgess, published in 1962. Love both book and film; hate the 21st chapter. A Clockwork Orange by Anthony Burgess is a novel told in three sections. One of the most iconic shots from A Clockwork Orange shows the camera slowly zooming towards the Droogs, who are each… Okay, if we’re voting Kennedy or Nixon, there’s a clear answer there unless you want to sound like an asshole, but the true question is Burgess or Kubrick, and I don’t want to choose. Burgess seemed to be going for a Crime and Punishment-type redemption, but I don't think he earned it. (It's the second-worst last chapter in my reading experience, after the one in The Adventures of Huckleberry Finn; in both cases, the depth and beauty of the chapters that lead up to the dud ending make the journey worthwhile.). AP Names Anya Taylor-Joy Breakthrough Entertainer of 2020, Daft Punk releases new extended version of the Tron: Legacy soundtrack, Warner Bros. will release its 2023 movies in theaters first. The original American publication of A Clockwork Orange also excluded this chapter, in which Alex is growing out of his taste for violence and looking forward to a future with a wife and son, whom he does not want to turn out like Alex himself. Burgess argues that a novel isnât a ânovelâ without growth of the protagonist. I never read the book because I got it on audiobook and the first thing I heard was Burgess lamenting the missing 21st chapter in previous additions. [â]TheShadyGuy 0 points1 point2 points 1 year ago (0 children). The American or Kubrickian Orange is a fable; the British or world one is a novel. For leaked info about upcoming movies, twist endings, or anything else spoileresque, please use the following method: The first section opens with Alex, the protagonist, and what he calls his “droogs”: Dim, Pete, and Georgie. Great comment, thank you so much, and I've never heard that quote from James M. Cain, but I love it! While he was in the hospital, the government fiddled around inside his gulliver and reversed the Ludovico Treatment (and then tested him to make sure he was again a vicious little sociopath happily making jokes about rape and thinking that the best thing to do with eggs would be to smash them), and he was now free to be a monster in their service --just as his fellow droogies had used their thuggishness in the State's service when they joined the Police Force. Both Stanley Kubrick and Anthony Burgess are dead and we are left to speculate, praise and condemn based on our own perception of their work. I see the book as more a statement of society and the baby boomer generation than about one individual although it is told through his eyes. I would simply say that the book lacks where the film can fill in and vice versa. There is no hint of this change of intention in the twentieth chapter. The same can be said for movies, games, music or any other artistic media. I still catch my breath recalling the first time I saw it. I am not saying these are invalid ideas; they just seem critically off to me from a secular point of view. This question probably has a really simple answer but I re watched a clockwork orange last night for the 5th time and every time I watch it Iâm left a little confused with the ending. ‘I was cured all right,’ he says, and so the American book ends. They can't decide what people take from that paper. They have, to match and fit his needs, because they don't desire justice, they desire peace. I also don't usually like 'definite' endings, but rather, I prefer open-ended conclusions where you don't have to be told by the author what happens to the character(s). The book is pretty clear about it when the film looks more like a rebellious parody of society (which the story is anyway but the film can't quite describe delicate message of Burgess's book). Because when Alex is in his hospital bed, a psychiatrist comes in and talks to him. Then she tests him, and his answers reveal the truth: That he is again showing the tendencies of a little monster. It wasn’t the last time one of Kubrick’s notoriously devastating films pissed off the author of the source material – Stephen King once said that The Shining is the only one of his book adaptations he can remember hating – but Burgess’ ire is certainly the most memorable, renouncing his own book after having seen the movie it spawned: We all suffer from the popular desire to make the known notorious. @Josh - that's an interesting angle! They probably said it but it just went right over me. @Khalil Clockwork Orange wasn't written by King, and she was referring to The Shining. I think Kubrick just ended it where the American edition of the book ended. Other than that, the last (21st) chapter certainly changes the whole meaning of the book and movie; without it, ACO is a cautionary tale about the prevalence of violence in our society, but also that sometimes this violence can be necessary (after the conditioning, even if someone attacks him, Alex cannot defend himself), and of course the whole issue about whether or not a man who is good simply because he is forced to do so, is really good- without choice, we are not really humans, just more sophisticated machines. So the original ending to the book ends like the movie, and yes, the idea is that he returns (or is going to return) to his old wicked ways. The movie ending leaves the viewer with the message that there are corrupt and evil people/institutions in the world, and does not glorify them, but rather suggests that they need to be stopped. The ending, or the twenty-first chapter of the book, provides closure to the book for some readers. 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