Alright folks, Mike here, back again, and this time we’re diving headfirst into the twisted genius of Stanley Kubrick. We’re talking about two films that couldn’t be more different, yet both bear that unmistakable Kubrick stamp: A Clockwork Orange from 1971 and Barry Lyndon from 1975. Now, I know what you’re thinking: ‘Mike, why are you torturing us with these two?’ Well, because they’re both important, and they both offer something unique, but only one of them I would recommend for a relaxing night.
Let’s start with the story, or should I say, the madness. A Clockwork Orange throws you into a dystopian future with Alex, a charming young sociopath, and his gang of ‘droogs.’ It’s a world of ultra-violence, Beethoven, and milk-plus. The plot is simple: Alex gets caught, gets ‘rehabilitated’ with some nasty aversion therapy, and then… well, things get complicated. It grabs you by the throat from the first frame and doesn’t let go. It’s a fresh take, if by ‘fresh’ you mean ‘terrifying and thought-provoking’. Barry Lyndon, on the other hand, is a slow burn. It’s the story of an Irish rogue who climbs his way up the social ladder through sheer luck and ruthlessness. It’s a period piece, all powdered wigs and opulent estates. The plot is straightforward, almost episodic. There are no twists, no shocking revelations, just a steady, almost glacial, progression of Barry’s life. It’s a recycled concept, but it does it so well, it’s almost like its own original piece. It makes you consider the nature of ambition and fate.
Now, on to the characters. In A Clockwork Orange, Alex is a force of nature. Malcolm McDowell’s performance is iconic. He’s charming, he’s terrifying, he’s everything you want in a villain. The supporting characters are all memorable, even if they’re mostly just pawns in Alex’s game. They are all over the top, but it works in the context of the film. In Barry Lyndon, we have Ryan O’Neal as Barry. He’s not a bad actor, but he’s not McDowell. He’s more of a cipher, a blank canvas on which the story unfolds. The supporting characters are all well-played, but they’re not as impactful as the ones in Clockwork. You’re not emotionally invested in their journey, but you are invested in the journey of Barry, even if he doesn’t deserve it.
Let’s talk about directing. Kubrick was a master, no doubt about it. In A Clockwork Orange, his direction is dynamic and unsettling. The shots are designed to make you uncomfortable, to make you question everything. It’s a visual assault, and it works like a charm. In Barry Lyndon, the direction is meticulous and deliberate. Kubrick was obsessed with the lighting and compositions, using natural light and long takes to create a sense of realism. It’s beautiful, but sometimes it feels a little self-indulgent. The cinematography in both movies is stunning. But while Clockwork is in your face, Barry Lyndon is more subtle.
The pacing is where these two films really diverge. A Clockwork Orange is a sprint, a wild ride from start to finish. It’s relentless, pushing you from one shocking scene to the next. There’s not a single scene that feels out of place. Barry Lyndon, on the other hand, is a marathon. It’s slow, deliberate, and sometimes feels like it’s dragging. There are scenes that could have been cut, that would have tightened up the film and made it a more enjoyable watch. It can be a chore to sit through, especially if you’re not in the right mood.
The music in A Clockwork Orange is iconic. The use of classical music, especially Beethoven, is brilliant, creating a jarring juxtaposition with the violence on screen. The sound design is equally effective, with the disturbing sound of Alex’s ‘singing in the rain’ being forever imprinted in your mind. In Barry Lyndon, the music is beautiful, but it’s more traditional. It enhances the mood of the film, but it’s not as memorable as the music in Clockwork. The sound design is solid, but it doesn’t stand out.
Both films try to say something about society. A Clockwork Orange is a scathing critique of violence, free will, and government intervention. It’s a film that stays with you long after the credits roll, making you question the nature of good and evil. Barry Lyndon explores the themes of ambition, social mobility, and the futility of human endeavor. It makes you think about the limitations of fate, the price of ambition, and the cyclical nature of history. It’s not as impactful as Clockwork, but it’s still a thought-provoking film.
Genre-wise, A Clockwork Orange is a dystopian crime thriller with elements of social satire. It executes its genre brilliantly, setting a new standard for films of its type. Barry Lyndon is a period drama, and it’s a solid example of the genre, but it’s not a standout. It’s beautiful, but sometimes it lacks the emotional punch that makes a period drama truly great.
Audience reception for A Clockwork Orange is mixed. Some people find it brilliant, while others find it disturbing. Critics generally praise its originality and its impact, but many are turned off by the violence. Barry Lyndon, on the other hand, is generally well-received by critics, but it’s not as popular with general audiences. Some find it slow and boring, while others appreciate its beauty and its historical accuracy.
The production design in both films is outstanding. A Clockwork Orange is a visual feast, with its futuristic sets, its bold costumes, and its unsettling imagery. Barry Lyndon is equally impressive, with its meticulous recreation of the 18th century. The costumes, the sets, the lighting, everything is designed to perfection. I’ve always said, if you want to make a great film, don’t be cheap with the production!
Overall enjoyment is where these two films really split. A Clockwork Orange is a difficult watch, but it’s an important one. It’s a movie that you’ll probably only watch once, but it will stay with you forever. It’s not a relaxing night in movie, but it is a movie that will make you think. Barry Lyndon is a film that you might appreciate for its beauty and its historical accuracy, but it’s not a movie that you’ll be itching to watch again. It is long and can get boring if you are not in the right mood.
The script and dialogue in A Clockwork Orange are sharp and witty, with a unique slang that is both disturbing and strangely captivating. The characters talk like real people, even if they’re in an unreal world. The script and dialogue in Barry Lyndon is more traditional. The conversations feel natural, but they’re not as engaging as the ones in Clockwork.
Both films have layers of symbolism and subtext. A Clockwork Orange is full of visual metaphors, exploring the themes of free will, violence, and the nature of humanity. It invites you to look beyond the surface and question the world around you. Barry Lyndon has a more subtle layer of subtext, exploring the themes of ambition, fate, and the futility of human endeavor. It’s a film that rewards multiple viewings.
The production quality in both films is top-notch. There are no glaring issues with sound, visuals, or editing. Both films are a testament to Kubrick’s attention to detail. He was a perfectionist, and it shows in every frame. He was also a pain in the ass to work with, I heard some stories over the years, but that is another story for another day.
The conflict and tension in A Clockwork Orange are believable and intense. The film builds tension effectively, keeping you on the edge of your seat from start to finish. The conflict and tension in Barry Lyndon are more subtle. The film builds tension slowly, sometimes too slowly, but it does have some moments of suspense. It’s not as gripping as Clockwork, but it’s still effective in its own way.
So, what’s the verdict? If you’re looking for a relaxing night in, steer clear of A Clockwork Orange. It’s a masterpiece, but it’s not an easy watch. Barry Lyndon might be a better choice if you’re in the mood for a slow-paced period drama, but be warned, it’s a long haul. If you are in the mood for something that will leave you thinking, and you don’t mind some violence, go for A Clockwork Orange. If you are in the mood for something more subtle, with beautiful visuals, go for Barry Lyndon. But if you want my honest opinion, I would say that Clockwork is the better film. It’s more original, more impactful, and more memorable. It’s a film that will stay with you long after the credits roll.
That’s it for today, folks. Mike out.
