I don't know if "A Clockwork Orange" is a masterpiece in the purest sense... I liken it to something like Scorsese's "Gangs of New York." In both cases, you can't deny the skill and talent that went into producing the film and the incredible creativity it took to bring such a unique and uncompromising visions to the screen. But neither film is perfect. But, for me at least, both are so engaging and entertaining and well made that I can't not call them masterpieces. Then I reflect on the films afterward and little things hang in the air that don't sit right, film-wise... It's difficult to explain. I've seen "A Clockwork Orange" near a dozen times -- the montage editing alone is worth it -- and it's not my favorite Kubrick film (I'm in a minority that cites "Full Metal Jacket"). I don't even know if it's the top five, to be honest. At the very least, that has to say something about the film. Right?

I'm in the same FMJ minority. Also love 2001. For me, HAL alone beats anything in Clockwork.

People today take such things for granted, but bear in mind that Clockwork Orange is a movie of its time, broke major boundaries, and ended up being banned for many years. It was one of two extraordinary British films that Malcolm McDowelll starred in (the other being Lindsay Anderson's If...) during the late sixties, that made profound observations regarding British society. For me, Wendy Carlo's soundtrack was a major influence.

I'm with pliny. Of course I have the benefit of having seen "A Clockwork Orange" [as well as "2001: A Space Odyssey"] when they both first came out. Both films absolutely blew me away. And that speaks to pliny's point: "A Clockwork Orange" created an enormous stir at the time. In my view, the film works as a satire, perhaps the single most difficult genre to pull off [Kubrick's finest example IMHO is "Dr. Strangelove"]. One can also argue it works as a prophecy about the devaluation of life, the escalation of gang violence, and the use of media to 'brainwash' the masses. It's fair, I suppose, to critique a movie based on how it plays as a film today. But that puts an awful burden on historic movies to stack up against modern technology and narrative approaches. For example, I recently screened the 1927 silent film "Underworld" with my History of American Screenwriting class at UNC. I don't know how one could possibly appreciate the film without understanding something of the context in which it was produced and distancing oneself from contemporary trappings. "A Clockwork Orange" deserves an important place in cinema history if for no other reason than the fact of its influence at the time. pliny, "If..." is also brilliant. I remember seeing that for the first time in a cinema class at UVA. Everyone recalls the shocking ending, of course, but there's so much great dialogue in the film as well. Such as this scene: "The thing I hate about you Rowntree is the way you give Coca-Cola to your scum and your best teddy bear to Oxfam, and expect us to lick your frigid fingers for the rest of your frigid life." Re "Full Metal Jacket": I thought the first half of the movie was brilliant. Less so the second half. But still a fine film. Kubrick was an amazing filmmaker.

Context matters hugely with a movie like Clockwork Orange. Nowadays, movies like Horrible Bosses count as black comedies, whereas back in the late sixties, we had real dark movies coming out of the UK starting in 64 with Strangelove, and including the Magic Christian, Clockwork Orange, Bedazzled and others. Moreover, I don't believe one can understand the environment and culture in which these movies were made without a nod to the British Satirical movement of the 60's, led by David Frost (yes *that* David Frost) and Peter Cook that eventually begat Private Eye and Monty Python. To me, as great as it is, Clockwork Orange is Kubrick's most dated work, and that context is the reason why.

I would agree that ACO is very much of its time, but "dated?" "Dated" to me means people no longer find it relevant. Seeing ACO is still a rite of passage of sorts for teenagers, almost like seeing the films of John Hughes (!) my young friends tell me. It gets referenced by everybody from Eminem to THE SIMPSONS. How can a film that exerts that kind of power and influence 40 years after its release be "dated?" ACO is beyond a masterpiece - it's an absolutely unique world culture phenomenon. And my third favorite Kubrick film after 2001 and THE SHINING.

I don't even think you have to bother seeing a Clockwork Orange in context of its era -- it's a masterpiece regardless. Context adds dimension to understanding it, but the film as art in its own right transcends that. The striking shots, the inventive dialogue, the horrifying sets, crazy costumes, startling music, and of course the message -- it's one of the greats. Also, I'm not a huge fan of Gangs of NY. I wouldn't put it in the same category as ACO or some of the great Scorsese films. It's too long, the editing is awkward, and some of the acting isn't believable. With those elements clicking it could have been another Goodfellas, but I think it falls far short.

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