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bM over CwO

The film opens with a close-up of the smirking face of a young punk. He sports a bowler hat and false eyelashes on one eye. His cufflinks and suspenders are decorated with reproductions of bloody, ripped-out eyeballs. He is Alex de Large (Malcolm McDowell), the leader of a small band of three droogs (a term from the remarkably understandable Nadsat, the hybrid language of the Burgess novel that borrows words from Russian and slang). As the camera pulls back, we see Georgie (James Marcus), Dim (Warren Clarke), and Pete (Michael Tarn), similarly dressed. The voice of the narrator is Alex's, for this is his story. The gang is fortifying itself before embarking on a night of terror and depravity in which they intend to randomly select victims to molest and violate. Kubrick forces us to become uncomfortable voyeurs as we watch Alex and his droogs beat a homeless alcoholic senseless, interrupt a rival gang's gang-rape to attack and maim their fellow brutes, and invade a home to th!
rash a man into submission and force him to watch the sadistic rape of his wife.

After further nights of carnage, eventually Alex is arrested and sentenced to fourteen years at a maximum-security prison. But ever the con artist, he works his way up to trustee and gains the friendship of the prison chaplain (Godfrey Quigley). Alex asks about a new rehabilitation process he's heard about in which violent offenders are "cured" and released early. During a visit by the Minister of the Interior (Anthony Sharp), he manages to draw attention to himself and becomes a volunteer for the Ludovico Technique. He's transferred to an experimental facility, where he's to undergo treatment. Alex will soon learn that the cure is a form of brainwashing, a reprogramming technique dependent upon aversion therapy. He's routinely given an injection, then placed in a straight jacket and strapped to a chair in a large theater. Clamps force his eyelids open, forcing him to watch the images projected on the movie screen. He's shown scenes of barbarous behavior, beatings, rape, mur!
der, and war. He has an unexpected reaction. The injection causes nausea, feelings of suffocation, the sensation of dying. Each time he's shown violent and antisocial behavior, he has the same reaction, a psychological torture almost too terrible to bear. And too terrible it becomes when, during scenes of Nazi atrocities, he hears his beloved Beethoven's Ninth used to underscore the onscreen mayhem. Alex realizes that he'll loose one of the only true pleasures in his life and pleads to have the music stopped. His doctors refuse.

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