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McDowell, Harlan remember "A Clockwork Orange" on its 40th Anniversary (& a synopsis of the bastardization of the X rating by the porn industry)

A friend of mine recently posted a link to this great video from The Guardian with Malcolm McDowell,Jan Harlan and Christiane Kubrick discussing Stanley Kubrick's "A Clockwork Orange.  It's a great discussion on the film's impact on the U.K, how they didn't see it as a "black comedy" because of the violence,  what Anthony Burgess was writing about in the story, etc., etc.....

I guess since I saw ACO in 1980, and was very familiar with Kubrick's other black comedy, "Dr. Strangelove,"  and perhaps because I was a callow young punk rocker, I saw it as black comedy.  ACO adhere's to certain conventions of black comedy:  it takes place in a familiar yet surreal world, the characters are over-the-top, situations trying to make distinct points about current society, and scenes that make one laugh even while wincing at the violence, cruelty or ignorance of the characters. 

oh, and Malcolm McDowell was kinda cute....

But ACO left a big impression on me long before !980.  It was seeing this poster in a drive-in snack bar when I was about 10....

Clockworkxprb

 

.....that image haunted me for years.  Geeze, I even remember the aqua and chrome decor of the Rt. 18 Drive-In Theater's snack bar, the smell of hot dogs and popcorn, the red and white stripes of the popcorn machine.....

The other thing about this poster--and about the movie--is the X rating.  Back In The Day (I'm talking late 60's and early 70's), an X rating wasn't necessarily the kiss of death. "Midnight Cowboy" was another mainstream film that was X rated when first released.   The lettered rating system was fairly new, and X was serious business. It meant that, if you weren't an adult, you would not be admitted.  And movie theaters had no problem enforcing that rule.

 The X rating was respected at this time because there were still a number of films that hit the market that didn't have official ratings. Low-budget exploitation pics made the rounds of both indoor and outdoor movie theaters, and they didn't always have official ratings. One of those movies (I just can't call them films)  that I remember because of the size of the ads in the newspaper was "My Baby is Black" (don't ask--just watch the trailer.  you'll be horrified, but not for the same reasons some audiences Back Then were horrified)

For some reason, I can't seem to embed the video here--how annoying!  But there's no rating to this bizaare exploitation flick.  At the end of the trailer it simply says "For ADULTS ONLY."  None of the stuff we're used to today with the ratings system...and a film like this, without a rating, would never make it to a local movie theater.  Those whacky days are gone...

Not to mention that within a year of ACO's release, porn would hit the big screen big time with "Deep Throat."  Pretty soon the porn industry would co-opt the X rating and create the XXX rating. This was ot a real official motion picture board rating, but just a cheezy symbol that in its own weird way helped differentiate porn from mainstream Hollywood productions.

Be that as it may, ACO was eventually downgraded from X to R--yet this may have had as much to do with changing mores than with the bastardization of the X rating.  By 1980 there were other films that were considered far more violent and titilating, including "Chinatown," "Rollerbal," and "Mad Max." 

None of those could be mistaken for black comedy (or porn, for that matter.)

It's certainly quite fascinating to think about how much has changed since "A Clockwork Orange" premiered, and, from an American perspective, interesting to hear what the impact of the film was on British audiences.  Apparently, it was quite incendiary.  The reaction here, as I recall, wasn't quite the same.  Then again, it did get the X rating....

 

Many thanks to CineMasterpieces for the image--and you can buy the poster from them too!

 

 

 

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"The Killer Inside Me": Film Noir in the Texas Sun, 50's Style.

I've been a film noir fan since, oh, perhaps the first time I saw Robert Mitchum in Cape Fear or Dan Duryea in Criss Cross.  It never occurred to me that a truly disturbingly dark "film noir" could be made in the bright Texas sunshine of the the candy-colored 1950s.  Filmmaker Michael Winterbottom has taken Jim Thompson's creepy pulp classic and turned it into an masterpiece of modern film noir (and I'm not saying that just to be nice to the guy who directed 24 Hour Party People)

When making this type of film, a lot or the plot hinges on the psychopath.  How long can he keep his false face on?  Who will he reveal it to--the victims or the lawmen?  How long will it take for this to happen?   The portrayal has to be believable--any small crack in the facade and an astute cinephine will notice.  Casey Affleck has stone-cold killer Lou Ford down, well, cold.  Affleck has the slight build, and boyish look makes him an unassuming as a psychopath--but there's a coldness in his eyes and a hollowness in his warm Texas drawl (which never wavers) that made me find him unnervingly attractive while the hair on the back of my neck stood up.  His narration, which is mostly about keeping up appearances and the social order in the Texas oil town where Ford is a deputy sherriff.  

Then there's the look on his face when Jessica Alba's Joyce Lakeland smacks him...... 

See what I mean?

While Alba didn't seem like she fit the 1950's all that well, Kate Hudson becomes that schoolteacher who will do anything to get Ford--a "good catch" by 1950's standards-- to marry her.  Hudson obviously gained a few pounds for the role, rounding her figure out enough to wear the corseted creations that made women miserably uncomfortable and princess-like at the same time (seriously:  who could go to work in a longline bra and crinoline and actually be able to move and breathe.  Trust me.  I've worn both.) 

We don't get enough backstory to know much about the relationship between Ford and Union boss Joe Rothman (Elias Koteas) and Simon Baker's FBI agent Howard Hendricks is never actually introduced.  Ned Beatty turns another great character performance as the Texas oil baron Chester Conway, whose name the town now bears (much to Ford's chagrin.)   So it is surprisng that Lou seems to show respect to the guy who could be called a "commie" and exacts a certain kind of vengeance against the guy to whom he feigns respect. 

No matter how good or mediocre the rest of the cast, the film belongs tol Casey Affleck (outdoing anything his brother Ben has ever done.)  He is shocking, yet enough is revealed that we understand (perhaps) what has made him such a creep :[spoilers ahead]  from catching his brother in the midst of molesting a 5 year old, to a very sexual, incestuous mom, to the sadomasochistic pictures of a woman he finds in his so-respectable deceased Daddy's bible.[end spoilers.]  Yet how can we be sure that Lou's recollections are real?  The only things that are real are the pictures--and, of course, Lou's own twisted crimes....

Playing a psychopath is probably one of the hardest things for a normal, well-adjusted actor to do.  Certainly someone who really is a psychopath couldn't play a psychopath--because when someone has that kind of condition, what they do appears to them to be normal.  So is the world of Lou Ford--to Lou Ford.  And Casey Affleck is one hell of an actor.....

Review of Note: Peter Bradshaw raises some excellent points in his reveiw in The Guardian UK.   While he gets the violence-against-women almost right, he doesn't quite get the violence against others, esp. males, who are seen as less than.  Beyond a doubt there's a whole lot of violence in this film, but it's doled out with contempt for just about everyone, not just women.  Still he makes a great point about how the movie doesn't glamorize violence.  Here I totally agree.  The violence, to whomever it is doled out to, is awful, and could make even the most hardend film critic flinch just a bit.

Filed under  //  1950s   cinema   cinema sex & violence   film noir   sex & violence  
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