Oh yeah, this is totally better than Clockwork orange!
the oscars are such a joke. always have been, always will be.
shareOh sorry movie critic. Clockwork Orange...yeah right!
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how is the french connecrion more influential from A clockwork orange??? are you that stupid???
shareyeah because watching a woman getting raped and making the writer husband watch is just remarkable and influential
sharewell actually it is influential.and it probably is the most important part of the story. you can understand this if you watch the whole movie. did you?? and it is incredible that from the whole movie you picked that part to show the influence.
Ok then. i find it very influential that Popeye was found with handcuffs in his bed with the girl in the bicycle. that's how you are thinking.
sorry but that doesn't even compare. I only picked that scene out because it pretty much sums up an amoral movie and its sick cast of characters. I seem to remember Kubrick saying the rape scene is too cookie cutter, so lets make it even more sick by making Alex de Large sing "Singing in the Rain." A sick play on the fact that the song is about love and then tying it to something as vile as rape. But maybe you and Kubrick get off on that. I'm not saying Kubrick is not one of the best directors to ever direct, but you have to admit looking at some of his body of work that he chose some disturbing things. also learn english grammar, ON the bicycle.
sharefirst i am not english. so why should i learn english grammar??? and also, McDowell sang "I'm singing in the rain" because he didn't know any other songs. search it and come begging for forgiveness.
shareThat's meant to be the sick irony of it... And Clockwork isn't 'amoral'. It looks at a range of important social issues, like the state's role in modern society (and whether its legitimate to treat even horrible criminals like Alex in such an instrumental, mechanical way), the social nature of crime, the violent tendencies of youth etc etc.
We must not check reason by tradition, but contrawise, must check tradition by reason - Leo Tolstoy
It's today world!
I like The French Connecion and Clockwork Orange both but if I had to choose I prefer (even if with some difficulties) The French Connection.
They are both influential, they are both classics!
I don't care that much how influential a movie is as opposed to how entertaining it is. I can watch the French Connection several times over, but cannot say the same for Clockwork Orange.
"Loves turned to lust and bloods turned to dust in my heart"
You can't compare the two, it's big apples and oranges (get it?) Sorry, couldn't resist. by the way pollesen, if you think about it, what's wrong with closet-homosexual nancy boys? If you were a man with balls they wouldn't threaten you.
share(yawn) You are all morons. Obviosuly The Last Picture Show takes the cake.
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"It's the frost, it sometimes makes the blade stick."
I think clockwork is a better movie and had no chance because they weren't ready to give a film like that best picture, be happy it was even nominated for the awards it was and malcom didn't get a best actor nod that year either.Clockwork orange was screwed over in ways, but I love this movie and have no problem with it winning what it did but I will always prefer the brilliant clockwork orange.
Don't ever call me a kubrick hater, or I will have my droogs beat you to death.
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A safer choice would have been that family friendly movie FIDDLER ON THE ROOF which also happened to be the year's biggest hit not a mainstream movie shot like a documentary which made cops look as bad as criminals and with the kind of ending you'd never get in an action movie nowadays.
Both TFC and ACO are daring films that blurred the line between criminality and authority (particularly the irony in the latter film when Alex's droogs become police officers). So the Academy were ready for a film like that to win, it just happenned to be another one.
The first "New Hollywood" film to win the best picture award was MIDNIGHT COWBOY (1969). PATTON, a more mainstream film, won in '70 and in '71, THE FRENCH CONNECTION sealed the deal for young Hollywood filmmakers.
I remember the '72 awards, when they showed the best actor nominees back to back, and seeing Walter Matthau, wearing old-age make-up in KOTCH deliver this plaintive and thoughtful speech, followed by Gene Hackman beating the hell out of Alan Weeks in that alley and thinking, "What the hell is this?"
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