Their escapades include the beating of derelict Paul Farrell, Richard Connaught and his gang, and writer Patrick Magee the raping of Magee’s wife Adrienne Corri and the bizarre murder of Miriam Karlin. In this world where, like the Viet Cong, youthful gangs control the street by night and disperse by dawn, lives anti-hero and narrator Malcolm McDowell and his sidekicks – Warren Clarke, James Marcus, and Michael Tarn, they have an Orwellian argot not difficult to grasp. Functional urban apartment houses and ultra-mod suburban homes, debris-littered streets and halls, psychedelic discotheques, and lavish record shops for the kids. John Barry’s outstanding production design, Milena Canonero’s superb costume design, Ron Beck’s excellent wardrobe supervision, and the dazzling art direction of Russell Hagg and Peter Shields provide a memorable picture of this society.
His screenplay, based on the 1962 Anthony Burgess novel, postulates a society composed of amoral young hedonists, an older generation in retreat behind locked doors, and a political-police government no longer accountable to anyone or to any principles except expediency and tenure. More than that, he has penetrated the relatively high level of multi-national madness found in “Doctor Strangelove” and landed right in the urban jungle. In his fourth film in a decade, and the ninth in 19 years, Kubrick certainly is back from outer space.
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