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Directed by | |||
| Stanley Kubrick | |||
Writing credits | ||
| Stanley Kubrick | (screenplay) | |
| Anthony Burgess | (novel) | |
Produced by | |||
| Stanley Kubrick | .... | producer | |
| Si Litvinoff | .... | executive producer | |
| Max L. Raab | .... | executive producer | |
| Bernard Williams | .... | associate producer | |
Cinematography by | |||
| John Alcott | (lighting cameraman) | ||
Film Editing by | |||
| Bill Butler | |||
Casting by | |||
| James Liggat | (as Jimmy Liggat) | ||
Production Design by | |||
| John Barry | |||
Art Direction by | |||
| Russell Hagg | |||
| Peter Sheilds | |||
Costume Design by | |||
| Milena Canonero | |||
Makeup Department | |||
| Olga Angelinetta | .... | hair stylist | |
| Barbara Daly | .... | makeup artist | |
| Leonard | .... | hair and coloring consultant (as Leonard of London) | |
| George Partleton | .... | makeup artist | |
| Freddie Williamson | .... | makeup artist (as Fred Williamson) | |
| Jim Gillespie | .... | makeup artist (uncredited) | |
Second Unit Director or Assistant Director | |||
| Derek Cracknell | .... | assistant director | |
| Dusty Symonds | .... | assistant director | |
| Raymond Becket | .... | third assistant director (uncredited) | |
Art Department | |||
| Frank Bruton | .... | property master | |
| Peter Hancock | .... | prop man | |
| Tommy Ibbetson | .... | prop man | |
| Christiane Kubrick | .... | paintings | |
| Christiane Kubrick | .... | sculptor | |
| Cornelius Makkink | .... | paintings | |
| Cornelius Makkink | .... | sculptor | |
| Herman Makkink | .... | paintings | |
| Herman Makkink | .... | sculptor | |
| Liz Moore | .... | paintings | |
| Liz Moore | .... | sculptor | |
| John Oliver | .... | prop man | |
| Bill Welch | .... | construction manager | |
Sound Department | |||
| Brian Blamey | .... | sound editor | |
| Peter Glossop | .... | boom operator | |
| Eddie Haben | .... | dubbing mixer | |
| John Jordan | .... | sound recordist | |
| Bill Rowe | .... | dubbing mixer | |
Visual Effects by | |||
| Sandy DellaMarie | .... | digital production coordinator: Pacific Title & Art Studio: re-release | |
| Mark Freund | .... | visual effects supervisor: Pacific Title & Art Studio: re-release | |
| George Gervan | .... | digital paint artist: Pacific itle & Art Studio: re-release | |
| Richard Gervan | .... | digital paint artist: Pacific Title & Art Studio: re-release | |
| Martin Hall | .... | digital paint artist: Pacific Title & Art Studio: re-release | |
| Maureen Healy | .... | digital paint artist: Pacific Title & Art Studio: re-release | |
| Heather Hoyland | .... | lead digital compositor: Pacific Title & Art Studio: re-release | |
| Greg Kimble | .... | digital compositor: Pacific Title & Art Studio: re-release | |
| Jeff Wells | .... | digital compositor: Pacific Title & Art Studio: re-release | |
| Chris Crowell | .... | digital compositor (restored version) (uncredited) | |
Stunts | |||
| Roy Scammell | .... | stunt arranger | |
| Eddie Frewin | .... | stunt driver (uncredited) | |
Camera and Electrical Department | |||
| Lou Bogue | .... | electrician (as Louis Bogue) | |
| Don Budge | .... | grip | |
| Tony Cridlin | .... | grip | |
| Ernest Day | .... | camera operator (as Ernie Day) | |
| Ron Drinkwater | .... | focus puller | |
| Laurie Frost | .... | assistant camera | |
| Derek Gattrell | .... | electrician (as Derek Gatrell) | |
| David Lenham | .... | assistant camera | |
| Mike Molloy | .... | camera operator | |
| Frank Wardale | .... | supervising electrician | |
| Ken Worringham | .... | camera operator (uncredited) | |
Costume and Wardrobe Department | |||
| Ron Beck | .... | wardrobe supervisor | |
Editorial Department | |||
| David Beesley | .... | assistant editor | |
| Peter Burgess | .... | assistant editor | |
| Gary Shepherd | .... | assistant editor | |
Music Department | |||
| Wendy Carlos | .... | composer: electronic music (as Walter Carlos) | |
Other crew | |||
| Len Barnard | .... | production accountant | |
| Terence A. Clegg | .... | location manager (as Terence Clegg) | |
| Andros Epaminondas | .... | production assistant | |
| Jan Harlan | .... | assistant to producer | |
| Kay Johnson | .... | secretary to director | |
| Mike E. Kaplan | .... | promotion coordinator (as Mike Kaplan) | |
| Jonathan Marshall | .... | technical advisor (as Jon Marshall) | |
| Arthur Morgan | .... | location liaison | |
| Loretta Ordewer | .... | production secretary | |
| June Randall | .... | continuity | |
| Margaret Adams | .... | production assistant (uncredited) | |
| Pablo Ferro | .... | title designer (uncredited) | |
| Anthony Frewin | .... | assistant: Stanley Kubrick (uncredited) | |
| Dick Haydon | .... | stand-in: male (uncredited) | |
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I would say that the movie is really a gem of an art piece. The use of excellent imagery coupled with pretty out-of-the-place background score tells us about the uniqueness of this movie. Stanley Kubrick has really applied a lot of thought into this.
The director wants the audience to feel something as bad not because he is showing it as bad but because it really is bad. The background music accompanying the ultra violent scenes is comical, and not dramatic or anything else that is commonly associated with such scenes. This gives the viewer an opportunity to feel the bitterness not because the music hints so but because he himself feels so. Viewer's emotions should arise irrespective of what the director is trying to show, and this is one of the greatest successes of the movie.
Another glorifying feature is the central idea of the movie. If a human is striped of the choice to choose from good and evil, he no longer remains a human, he becomes a clockwork. When Alex is brain-washed and "programmed" to choose only good, he wasn't accepted by the society and this shows the irony in the objectives of the British Government. The word Orange from the title presumably comes from the word "Ourange" that loosely means man. And hence the title is so appropriate to the movie.
The artificiality in dialogues and sets give the movie a unique feature and enhance the grip on it. This also means that the viewer has to get more involved. This is definitely one of the best technically shot movies, another masterpiece of Kubrick like the Space Oddessey.
For the uninitiated, set in near future Britain, the movie shows Malcom MacDowell as the head of a group of youngsters involved in sexual violence. Turn of the events leave the protagonist in the hands of the police. Worried by the growing number of prisoners the British Government devises a method of "programming" them so that they always choose the good. Alex is chosen as one of those on which the new system is to be tested. The rest unfolds as a saga of the very human characteristic.
Lastly, I would like to say that you may be compelled to leave the movie in between, but if you are watching it for art and cinematic experience, I recommend you to sit through.