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Orange is a 2010 Indian Telugu-language romantic comedy drama film written and directed by Bhaskar Natarajan. The film stars Ram Charan, Genelia D'Souza, and Shazahn Padamsee, while Prabhu and Prakash Raj play supporting roles. The film, whose music was composed by Harris Jayaraj and was released on 26 November 2010. The film was a box office failure upon release but became a cult film over time.[3] It was dubbed and released in Tamil as Ramcharan in 2011.[4]
Ram Charan wanted to do a love story after Magadheera (2009) and contacted Bhaskar since he liked Bommarillu (2006).[5][6] Genelia D'Souza was cast in the film, which was to be produced by Ram Charan's uncle Nagendra Babu.[7][8] Kajal Aggarwal was initially considered to play another heroine but she was later replaced by Shazahn Padamsee, who made her Telugu debut with this film.[9][10][11][12] Genelia D'Souza's character was similar to her bubbly Hasini role in Bommarillu (2006).[13] Ram Charan and Genelia D'Souza plays Indian students studying in Australia.[14] The film was shot in Melbourne and Sydney, Australia; Mumbai, India; and Malaysia.[15][16] The film is the largest Indian budget film that was mostly shot in Australia.[17] Over two hundred and fifty people from Australia were a part of the cast and crew.[18]
The film was a box office failure despite the successful soundtrack. However, it has been people's favourite much later to its theatrical run and even the critics admit it's a film that's ahead of its time.[3]
A Clockwork Orange is a 1971 dystopian comedy crime film adapted, produced, and directed by Stanley Kubrick, based on Anthony Burgess's 1962 novel of the same name. It employs disturbing, violent images to comment on psychiatry, juvenile delinquency, youth gangs, and other social, political, and economic subjects in a dystopian near-future Britain.
The film premiered in New York City on 19 December 1971 and was released in the United Kingdom on 13 January 1972. The film was met with polarised reviews from critics and was controversial due to its depictions of graphic violence. After it was cited as having inspired copycat acts of violence, the film was withdrawn from British cinemas at Kubrick's behest, and it was also banned in several other countries. In the years following, the film underwent a critical re-evaluation and gained a cult following. It received several awards and nominations, including four nominations at the 44th Academy Awards, including Best Picture.
In the British Film Institute's 2012 Sight & Sound polls of the world's greatest films, A Clockwork Orange was ranked 75th in the directors' poll and 235th in the critics' poll. In 2020, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".
Two years into the sentence, Alex eagerly takes up an offer to be a test subject for the Minister of the Interior's new Ludovico technique, an experimental aversion therapy for rehabilitating criminals within two weeks. Alex is strapped to a chair, his eyes are clamped open, and he is injected with drugs. He is then forced to watch films of sex and violence, some of which are accompanied by the music of his favourite composer, Ludwig van Beethoven. Alex becomes nauseated by the films and, fearing the technique will make him sick upon hearing Beethoven, begs for an end to the treatment.
The film's central moral question is the definition of "goodness" and whether it makes sense to use aversion therapy to stop immoral behaviour.[7] Stanley Kubrick, writing in Saturday Review, described the film: "A social satire dealing with the question of whether behavioural psychology and psychological conditioning are dangerous new weapons for a totalitarian government to use to impose vast controls on its citizens and turn them into little more than robots."[8] Similarly, on the production's call sheet, Kubrick wrote: "It is a story of the dubious redemption of a teenage delinquent by condition-reflex therapy. It is, at the same time, a running lecture on free-will."
Kubrick told film critics Philip Strick and Penelope Houston: "Alex makes no attempt to deceive himself or the audience as to his total corruption or wickedness. He is the very personification of evil. On the other hand, he has winning qualities: his total candour, his wit, his intelligence, and his energy; these are attractive qualities and ones, I might add, which he shares with Richard III."[13]
The society depicted in the film was perceived by some as Communist (as Michel Ciment pointed out in an interview with Kubrick) due to its slight ties to Russian culture. The teenage slang has a heavily Russian influence, as in the novel; Burgess explains the slang as being, in part, intended to draw a reader into the world of the book's characters and to prevent the book from becoming outdated. There is some evidence to suggest that the society is a socialist one, or perhaps a society evolving from a failed socialism into an authoritarian society. In the novel, streets have paintings of working men in the style of Russian socialist art, and the film shows a mural of socialist artwork with obscenities drawn on it. As Malcolm McDowell points out on the DVD commentary, Alex's residence was shot on failed municipal architecture and the name "Municipal Flat Block 18A, Linear North" alludes to socialist-style housing.[14][15]
When the new right-wing government takes power, the atmosphere is certainly more authoritarian than the anarchist air of the beginning. Kubrick's response to Ciment's question remained ambiguous as to what kind of society it is. Kubrick asserted that the film held comparisons between both ends of the political spectrum and that there is little difference between the two. Kubrick stated: "The Minister, played by Anthony Sharp, is clearly a figure of the Right. The writer, Patrick Magee, is a lunatic of the Left... They differ only in their dogma. Their means and ends are hardly distinguishable."[14]
Anthony Burgess sold the film rights of his novel for US$500 (equivalent to $4,800 in 2022), shortly after its publication in 1962.[16] Originally, the film was projected to star the rock band The Rolling Stones, with the band's lead singer Mick Jagger expressing interest in playing the lead role of Alex, and British filmmaker Ken Russell attached to direct.[16] However, this never came to fruition due to problems with the British Board of Film Classification (BBFC), and the rights ultimately fell to Kubrick.[16]
McDowell was chosen for the role of Alex after Kubrick saw him in the film if.... (1968). When asking why he was picked for the role, Kubrick told him: "You can exude intelligence on the screen."[17] He also helped Kubrick on the uniform of Alex's gang, when he showed Kubrick the cricket whites he had. Kubrick asked him to put the box (jockstrap) not under but on top of the costume.[18][19]
During the filming of the Ludovico technique scene, McDowell scratched a cornea[20] and was temporarily blinded. The doctor standing next to him in the scene, dropping saline solution into Alex's forced-open eyes, was a real physician present to prevent the actor's eyes from drying. McDowell also cracked some ribs filming the humiliation stage show.[21] A unique special effect technique was used when Alex jumps out of the window in a suicide attempt, showing the camera approaching the ground from Alex's point of view. This effect was achieved by dropping a Newman-Sinclair clockwork camera in a box, lens-first, from the third storey of the Corus Hotel. To Kubrick's surprise, the camera survived six takes.[22]
The main theme is an electronic arrangement of a short excerpt from Henry Purcell's Music for the Funeral of Queen Mary, and the soundtrack has two of Edward Elgar's Pomp and Circumstance Marches.[citation needed] Kubrick wanted to use the Pink Floyd song "Atom Heart Mother" in the film, but they refused.[27]
On release, A Clockwork Orange was met with mixed reviews.[16] Vincent Canby of The New York Times praised the film: "McDowell is splendid as tomorrow's child, but it is always Mr. Kubrick's picture, which is even technically more interesting than 2001. Among other devices, Mr. Kubrick constantly uses what I assume to be a wide-angle lens to distort space relationships within scenes, so that the disconnection between lives, and between people and environment, becomes an actual, literal fact."[30] The following year, after the film won the New York Film Critics Award, he called it "a brilliant and dangerous work, but it is dangerous in a way that brilliant things sometimes are".[31] The film also had notable detractors. Film critic Stanley Kauffmann commented, "Inexplicably, the script leaves out Burgess' reference to the title".[32] Roger Ebert gave A Clockwork Orange two stars out of four, calling it an "ideological mess".[33] In her New Yorker review titled "Stanley Strangelove", Pauline Kael called it pornographic because of how it dehumanised Alex's victims while highlighting the sufferings of the protagonist. Kael noted the Billyboy's gang extended stripping of the woman they intended to rape, claiming it was offered for titillation.[34]
In a retrospective review, Leslie Halliwell described it as"A repulsive film in which intellectuals have found acres of social and political meaning; the average judgement is likely to remain that it is pretentious and nasty rubbish for sick minds who do not mind jazzed-up images and incoherent sound."[citation needed]
John Simon noted that the novel's most ambitious effects were based on language and the alienating effect of the narrator's Nadsat slang, making it a poor choice for a film. Concurring with some of Kael's criticisms about the depiction of Alex's victims, Simon noted that the character of Mr Alexander, who was young and likeable in the novel, was played by Patrick Magee, "a very quirky and middle-aged actor who specialises in being repellent". Simon comments further that "Kubrick over-directs the basically excessive Magee until his eyes erupt like missiles from their silos and his face turns every shade of a Technicolor sunset".[35]
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