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Are you prepared to delve into the realm of ultra-violence? Here’s a collection of intriguing details about Stanley Kubrick’s cinematic masterpiece, A Clockwork Orange.
1. KUBRICK WAS INITIALLY RELUCTANT TO DIRECT THE FILM.
Stanley Kubrick first came across Anthony Burgess’ novel A Clockwork Orange thanks to Terry Southern, his co-writer on Dr. Strangelove, who handed him a copy during filming. Southern admired the book’s dark humor and believed it would make a compelling film. Initially, Kubrick was put off by the Nadsat language—a blend of Russian and Cockney slang—used in the novel. It wasn’t until his plans for a Napoleon biopic collapsed that he revisited the book. This time, he saw Alex as a character akin to Richard III, which sparked his interest in adapting the story.
2. MALCOLM MCDOWELL WAS KUBRICK'S UNQUESTIONABLE PICK FOR ALEX.
Before Kubrick took charge of adapting A Clockwork Orange (with Ken Russell and John Schlesinger among the potential directors), rumors swirled that Mick Jagger was considered for the role of Alex, with other Rolling Stones members possibly playing his droogs. However, once Kubrick came on board, he had only one actor in mind for Alex: Malcolm McDowell. Kubrick was impressed by McDowell’s performance in his debut film, If...., which also explored themes of rebellion and anti-authoritarianism, with McDowell portraying a violent and defiant teenager. McDowell didn’t even need to audition, and it’s said Kubrick would have abandoned the project entirely if the actor had turned down the role.
3. MCDOWELL WAS UNFAMILIAR WITH KUBRICK'S WORK.
When McDowell was offered the role, he initially mistook the director for Stanley Kramer, known for films like It's a Mad, Mad, Mad, Mad World and Judgment at Nuremberg. It wasn’t until Lindsay Anderson, McDowell’s friend and the director of If...., showed him Kubrick’s 2001: A Space Odyssey that the actor realized who he was actually working with.
4. KUBRICK'S SCRIPT FAITHFULLY REFLECTED THE NOVEL.
Kubrick grew so fond of the book that his screenplay largely consisted of dialogue and stage directions lifted directly from it. Early drafts even altered the film’s title to "The Ludovico Technique," referencing the brainwashing method Alex undergoes, but Kubrick eventually reverted to the original title. The director and cast adhered so closely to the novel that they often bypassed the formal script, using the book itself as their guide for dialogue during filming.
The screenplay (and the film) notably omit the optimistic conclusion found in British editions of the book, added at the insistence of Burgess' publishers. This ending depicts Alex abandoning his violent ways and vowing to reform. Kubrick, however, based his script on the American version of the novel, which completely removed the happy ending.
5. THE FILM WAS LARGELY SHOT IN REAL-WORLD LOCATIONS
Kubrick aimed to demonstrate his ability to create a low-budget film following the costly production of 2001, so he opted for existing locations. The only condition was that they had to be within a short drive from his home near London. One of the most iconic settings was Alex's apartment complex, filmed at the Thamesmead Housing Estate in Southeast London, a development constructed in the late 1960s. The writer's "HOME" was a combination of three places: the approach road was near Munden House in Bricket Wood, Hertfordshire; the exterior was captured at The Japanese Garden in Shipton-under-Wychwood, Oxfordshire; and the interior was The Skybreak House in Radlett, Hertfordshire (with the wall art painted by Kubrick's wife, Christiane).
The record shop sequence was filmed at the Chelsea Drugstore, a trendy London bar popular with the Rolling Stones and other stars during the late 1960s and 1970s (sharp-eyed viewers might notice the soundtrack to 2001: A Space Odyssey on the counter).
6. BUT SOME SCENES WERE SHOT ON CONSTRUCTED SETS.
Only three specific scenes were constructed as sets: The Korovo Milk Bar, the prison's check-in area, and the bathroom where Alex bathes in the writer's HOME. These were built in an old factory located in Borehamwood, Hertfordshire. Kubrick preferred shooting there due to its proximity to his home.
7. MCDOWELL'S PASSION FOR CRICKET INSPIRED ALEX'S DROOG OUTFIT.
Costume designer Milena Canonero aimed to craft a distorted near-future aesthetic for A Clockwork Orange. However, Kubrick and Canonero, who later won an Oscar for her work on Barry Lyndon (and additional awards for Chariots of Fire, Marie Antoinette, and The Grand Budapest Hotel), struggled to finalize Alex's look. When McDowell, an avid cricket enthusiast, arrived for a fitting with his cricket gear—including a protective cup—Kubrick instructed him to incorporate the white shirt and cup into the costume. As McDowell began dressing, placing the jockstrap under his pants, Kubrick suggested it would look better over the pants, and this became the iconic look seen in the film.
8. ALEX'S PERFORMANCE OF "SINGIN' IN THE RAIN" WAS UNPLANNED.
McDowell improvised the idea of his character singing the Gene Kelly classic. During rehearsals, Kubrick felt the infamous scene where Alex and his droogs assault the writer and his wife lacked intensity. To heighten the brutality and highlight Alex's sinister nature, he encouraged McDowell to do something unexpected—like dancing. The actor began humming and then spontaneously sang "Singin' In The Rain." McDowell later explained, "Why did I do that? Because [the song] represents Hollywood's idea of pure joy. And that's exactly how Alex felt in that moment."
9. A GENUINE MEDICAL PROFESSIONAL PARTICIPATED IN THE LUDOVICO TECHNIQUE SCENE.
During the sequence where Alex undergoes aversion therapy by watching disturbing footage, McDowell's eyes were held open using antique lid locks designed for sensitive eye procedures. The individual applying the eye drops was a real doctor from Moorfields Eye Hospital in London. Initially intended to stay off-camera, Kubrick decided to include him in the scene because McDowell couldn’t keep his eyes open without the drops.
10. MCDOWELL STILL SUFFERED AN INJURY.
Despite having his eyes numbed, McDowell experienced severe discomfort. The eye clamps were designed for patients lying down, but Kubrick insisted Alex remain seated while watching the rehabilitation footage. This led to McDowell scratching his cornea, prompting Kubrick to abbreviate the scene.
11. THE FAST-FORWARDED INTIMATE SCENE REQUIRED 28 MINUTES OF FILMING.
Kubrick opted for a fast-motion blur effect to capture the intimate scene between Alex and the two women from the record shop, aiming to avoid explicit censorship. Ironically, the scene contributed to the film’s X rating, not due to its content, but because censors worried the technique might be exploited by adult filmmakers to bypass rating restrictions.
12. DARTH VADER MAKES A CAMEO IN THE FILM.
The physically imposing aide to the disabled writer in the movie’s final act is played by David Prowse, the bodybuilder and former Mr. Universe contestant who later became famous for portraying Darth Vader in the original Star Wars trilogy.
Prowse initially objected to the scene requiring him to carry the writer and his wheelchair around a corner and to the dinner table in one continuous shot. Aware of Kubrick’s reputation for multiple takes, Prowse joked, "Your name isn’t one-take Kubrick, is it?" The crew expected him to be fired, but Kubrick laughed and assured him it would be fine. The shot was completed in six takes.
13. PING PONG PLAYED A ROLE IN REDUCING COSTS.
McDowell completed the film’s voiceovers during two weeks of post-production sessions with Kubrick. To break the monotony of lengthy recording sessions, the duo would take breaks to play ping pong on a table outside the studio. After the two weeks, McDowell’s agent discovered he was only compensated for one week. Kubrick justified this by stating the payment was for the actual work done, while the unpaid week was spent on ping pong matches.
14. KUBRICK WITHDREW THE FILM FROM UK CINEMAS DUE TO DEATH THREATS.
The media attributed a series of violent crimes in the UK during the early 1970s to the film’s influence, leading to demands for its ban. Despite the controversy, the movie continued to screen until Kubrick intervened.
While filming Barry Lyndon in Ireland, Kubrick received death threats targeting him and his family. The threats included plans to invade his secluded London home, mirroring the actions of Alex and his droogs in the film. Fearing for his family’s safety, Kubrick ensured the movie was not publicly shown in the UK or Ireland until after his death in 1999.
15. THE FILM EARNED A BEST PICTURE NOMINATION DESPITE ITS X RATING.
Despite the surrounding controversy, A Clockwork Orange remained in American theaters and secured nominations for Best Picture and three additional Oscars, including Best Director for Kubrick and Best Adapted Screenplay for his work. Although it didn’t win in any of the four categories, the film cemented its place in cinematic history. Alongside Midnight Cowboy, which claimed Best Picture in 1970, it stands as one of only two X-rated films ever nominated for the Academy’s highest honor.
