Why is 'Singing in the Rain' is Clockwork Orange's juxtaposition song ?

Is it mentioned in the novel or was it a first added into the film?

The lyrics :

'I'm singing in the rain Just singing in the rain What a glorious feeling I'm happy again I'm laughing at clouds So dark up above The sun's in my heart And I'm ready for love Let the stormy clouds chase Everyone from the place Come on with the rain I've a smile on my face I'll walk down the lane With a happy refrain Just singing in the rain Singing in the rain Dancing in the rain I'm happy again I'm singing and dancing in the rain I'm dancing and singing in the rain'

Alex joyfully singing while the dark rain falls = Is it thematically enjoying yourself even while living in a dark future dystopia. A light inside the black ? (even when the light is distorted & violent in itself). Existential : We must view a psycho Sisyphus being happy, enjoying his 'work', pushing that stone up the hill.

Or just a straight forward jarring gleeful song during Ultraviolence + any joyful retro song would have suited?

Prologue (Commencement)

Over footage of childhoods and adolescences of one James Theodore Davis ("Joker"), Leonard Pratt Lawrence ("Gomer Pyle"), Robert Evans ("Cowboy") and Peter Brown ("Snowball"); we know not all was well within the United States of America in the years leading up to the Vietnam War. But as the visions of all Marine Corps graduates tell, there is one mystery that leaves them baffled. They all wonder whilst the sounds of Johnnie Wright's "Hello Vietnam" plays what led to the downfall of Gunnery Sergeant Hartman under the titles.

Act I (Childhood Between the World Wars)

Scene I - Born on March 15th (the Ides of March) in 1927, Earle Gerheim Hartman is soon the only boy and middle child between six sisters of his - Lisa, Denise and Jennifer being the eldest each by one year separating him and each other; and followed by Jessica, Deanna and Leann being the youngest each by mainly one year separating him and each other. Earle's father Victor is a former Captain of the US Army's 1st Infantry Division who served with honor but earned shell shock from the Third Battle of Picardy which leaves him rifle-shy.

Scene II - If smothered in love and affection from his mother Teresa and his sisters, Earle feels stifled or totally overpowered which caused him great anxiety and rage. But he turns destructive, vulgar and quite aggressive even when there is nobody causing him turmoil. Earle only seems happy when he gets his way or even pushing his younger sisters around. From a very young age, Earle Gerheim Hartman has a peculiar fascination with the perversion of the feminine into becoming more of the masculine. He always clams up towards his older sisters.

Scene III - During long nights over supper/dinner, Earle's sisters all discuss how they'll work their ways out of the Great Depression and hope to usher in a world of peace and femininity that will hopefully be a better way forward for humanity. Some of their time during summer and winter breaks is spent with their brother Earle dolling him up and making him look pretty. But these harmless gestures of fun are actually causing turmoil in their brother for he feels unclean and violated whenever he is with them. The world of femininity scares him.

Scene IV - Throughout his nightmares, Earle dreams of some overweight bald young man of about 18 years old wearing a psychotic grin and dead eyes holding a rifle in his hands whether in a bathroom-like space or even in a military barracks squad bay. Earle tries demanding the young man surrender the rifle to him but the man is determined to kill him. He refuses to let some nightmare figure toy with him as he raves and insults the figure until it shoots him right in the heart. This is a representation of the feminine Earle feels compelled to kill.

Scene V - It is when Earle is almost nine years old that he finds his father's Springfield hunting rifle in a cellar under the farmhouse that a feeling of power emerges. He uses the rifle to shoot at a dozen snakes, rabid dogs, squirrels and other vermin to keep them away. But it is killing and desecrating the corpses of the animals that Earle finds an outlet for his rage and sadistic hunger for power that the thrill of battle will someday provide. But his father Victor tries to steer him away via a book All Quiet on the Western Front which pisses Earle off.

Act II (Adolescence in World War II)

Scene I - At the age of 14 years old, young "Crazy Earl" is introduced by his sister Lisa to a school mate of hers named Christina who is 17 like her at a school party. Secretly, it is part of Lisa's plan to help heal her brother of the darkness poisoning his soul by helping him lose his virginity. Watching him swim in secret at Jones Park's lakes one summer, Christina opens him up as she flirts with him. Horrified and violated at facing a potential loss of his prized virginity, "Crazy Earl" races home and his sisters all know about it without telling to taunt him.

Scene II - Running away from home to escape his sisters, "Crazy Earl" finds himself outside the Twelfth Avenue Baptist Church which is home to a youth chapter of the Ku Klux Klan. "Crazy Earl" confesses he has from his birth hated the feminine figures in his life smothering him or having any power over him which the Chapter Wizard sympathizes with. They all hate white men being "feminized" by the multiracial crusades that America is embarking on against the Nazis of Hitler's Germany. And he reluctantly makes a few tenuous "friends" there.

Scene III - Over the course of the rest of World War II, "Crazy Earl" is seduced by all the propaganda films and newsreels of United States Marines (soldiers who have more rigorous training than the army but are serving with the Navy as well) proving their savagery and masculinity in combat against Nazis, Italian "Blackshirts" of Mussolini and the Imperial Japanese Army forces of Hirohito. Teresa and Victor are horrified by their Earle idolizing and collecting material related to firearms and General George Patton while also having Klan robes.

Scene IV - For as much as "Crazy Earl" Hartman hates the crusade against Nazi Germany being waged by his General Patton as though it was a war to kill his few friends who were part of the youth chapters of the Klan, he idolizes the attitude and speeches Patton gives. Both Hartman and Patton find thoughts of losing a war hateful to what it means to be a real American man - a fighter and killer. Victor cannot fathom what would be rather enticing about being a killing soldier but they are "Crazy Earl"'s only respites from the "prison" of femininity.

Scene V - With the knowledge that his virginity has been lost looming over his head, "Crazy Earl"'s hatred of all things feminine is only solidified as he becomes trauma bound to the Klan and even to the idea of serving only the masculine order of United States Marines. Upon his eighteenth birthday, "Crazy Earl" receives his draft card calling him up for military service - one which Hartman takes so he can enlist in the Marine Corps to flee from his family and Christina. Some of his "friends" who were raised by Klan members go with him to Parris Island.

Act III (Private - USMC in Korea)

Scene I - Taking the Santa Fe's El Capitan train from Emporia to Los Angeles before heading down by way of a San Diegan train to San Diego and the Marine Corps Base San Diego, "Crazy Earl" joins dozens of other young men in Basic Training with zeal and enthusiasm. He is eager to get some time on the front lines to leave a mark of blood and violence on the Axis armies in either Europe or the Pacific. But his cherry for officially sanctioned military violence remains un-popped by the time "Crazy Earl"'s training is complete after both V-E and V-J Day.

Scene II - During the time between the Second World War and the Korean War, "Crazy Earl" drifts from town to town across America under the cover of charity operations by the Marine Corps and in secret the Klan. Being a young man with an itchy trigger finger and unprocessed trauma over losing his virginity, he begins exacting his revenge by partaking in raids against minority neighborhoods and towns. But the nonfatal nature of the raids leaves him wanting actual blood which is when Private Earl Hartman is called back to serve the Corps in Korea.

Scene III - Tasting the thrill of blood and violence over the course of the First Battle of Pork Chop Hill starting on April 16th lasting until the 18th of 1953; "Crazy Earl" is a screaming, raving lunatic as he is going off and away at Chinese People's Volunteer Army (PVA) soldiers with a Browning M1918 machine gun and M1 Garand service rifle. His savagery was considered necessary to drive off the North Koreans and win the battle for America. For his service in the final battles, "Crazy Earl" is awarded the Navy Cross. This is, to him, his own Iwo Jima.

Scene IV - Back at home, Victor and Teresa discover that their daughters' plan to help their brother purge all of his aggression from himself via Christina could possibly have resulted in a pregnancy siring a son and daughter the latter is raising with help from her childhood sweetheart husband Kenneth Pratt. News of this soon reaches the Corps in 1955 as the Vietnam War commences with American military involvement seven years away. With the knowledge he may have had family waiting, "Crazy Earl" thinks of his family and the fate awaiting his death.

Scene V - On the verge of being processed out of the Corps on a Section 8, "Crazy Earl" begins showing signs of suicidal ideation over the thought of returning to the dreaded civilian life and reconnecting with his sisters that begat his trauma. But then his own inner demons begin berating him in his mind to say that if he quits on himself, the filth-ridden scourge that is both communism and femininity will win. Only a man hard of heart and cruelty-minded can beat back the looming tide, so "Crazy Earl" pulls himself together to pass his psych eval.

Act IV (Corporal/Junior Drill Instructor - USMC in-between Korea and Vietnam)

Scene I - Through grit, determination, and sheer physical prowess; young Hartman applies for training in the Military Occupational Specialty number of 0911 - Marine Corps Drill Instructor. Upon completion of the Drill Instructor School and receiving his 0911 MOS, Corporal Hartman is inducted into the 1st Battalion of Recruit Training Regiment. His fellow Junior Drill Instructors try to make him feel welcome, but passing glances at the 3rd Recruit Training Battalion which trains female Marine recruits begins to turn Hartman's bloodlust to max.

Scene II - The night of the Ribbon Creek Incident of April 8th, 1956 is a pivotal moment for Hartman in his very early days as a Junior Drill Instructor. Hearing of Staff Sergeant Matthew McKeon's harsh training routine being responsible for the drowning deaths of six recruits has the other drill instructors on edge for the fate of their beloved Corps. But Hartman finds a kindred spirit in the media and public's portrayal of McKeon as malicious. He wants to exact his wrath like McKeon to say everyone but him is weak (the wicked "feminine") or even evil.

Scene III - Hartman's time as a Junior Drill Instructor is marked by him breaking and training at Parris Island two of the most notorious murderers with Marine Corps service records - Lee Harvey Oswald in 1956 and Charles Whitman in 1959. The base's staff are disturbed that Hartman found kindred spirits in McKeon and now Oswald and Whitman for their hair-trigger bloodlust. They show a marksmanship that Hartman covets and wants to turn loose on the world as examples of truly motivated Marines that civilians and women aren't.

Scene IV - By the beginning of 1962, the Marine Corps uses Hartman's D.I. antics as their excuse to get him back onto the front lines of combat away from the toxic influence he is having upon all his fellow Junior Drill Instructors. Taken out of his natural element and placed in a position where he will likely be killed by forces he could not break or take his own breed of wrath out on is the proverbial 'world of shit' for Hartman. He realizes he had to fall in love with his own hatred and wrath that got him into this and has to play it cool for some time.

Scene V - Whilst serving as a so-called "advisor" on the front lines of Saigon (eventually to be renamed Ho Chi Minh City) in Southern Vietnam, Hartman moves up ranks from Corporal through Sergeant and Staff Sergeant showing trainees of the Army of the Republic of Vietnam (ARVN) how to transition from the M1 Garand to the M14 service rifle. In between his originally scheduled two tours of Vietnam, Hartman is caught up in the dying gasps of his hometown's Klan chapter caught up in the social upheavals of the 1960s closing in all around him.

Act V (Gunnery Sergeant/Senior Drill Instructor - USMC in Vietnam) [First Act of Full Metal Jacket]

Scene I - Hartman is pulled away from serving his second tour on the front lines of Vietnam to become the top Senior Drill Instructor at Parris Island. He's eager for some misery and suffering to wreak upon some hapless recruits in getting his power back, but he knows that if he fucks up in any way by failing one recruit he is going to either get sent back to the front lines or be court-martialed right out of the Corps. This is a world of shit that Hartman is in as he reports over to Parris Island where he at last attains the coveted rank of Gunnery Sergeant.

Scene II - At last meeting one of his first platoons as a Senior Drill Instructor at MCRD Parris Island in 3092 for mid-late November 1966; Hartman starts tearing into his new recruits while Durrane and Seaton, his two Junior Drill Instructors or "Devil Dogs", watch him steal their thunder. Witnessing his cruelty towards Snowball, Joker, Cowboy and Gomer Pyle has Corporals Durrane and Seaton begin to run afoul of an entrenched toxic power structure Hartman is taking advantage of to remain with the Corps. Some marines sympathize with hippies.

Scene III - During the jelly doughnut confrontation between Hartman and "Pyle"; Durrane and Seaton see a useful skill that "Pyle" has as their ticket to removing Hartman's tyranny once and for all. They willfully start to become more lax in their security checks after leaving the rifle range to allow "Pyle" to rack up a full magazine of live 7.62x51mm NATO full metal jacket rounds whilst secretly rewriting their very regulations books to allow for "Pyle" to keep his rifle up until the night before 3092 is to ship on out - all of it from under Hartman's nose.

Scene IV - Whilst training his recruits, Hartman is reliving the culture and abuses that unleashed the psychotic martinet lurking inside him and conquering the forces of feminism, race equality and LGBTQIA+ rights that stink of Communism and threaten to pollute his ideals of masculinity. But his failure is assured on the night before the graduating recruits of 3092 are set to ship out for further training. He hears "Pyle" reciting drill commands and brandishing a rifle in 3092's Barracks' Head Latrine outside his quarters as the platoon sleeps.

Scene V - Bursting into the Head, Hartman confronts "Joker" and "Pyle". In his mind, Hartman sees his own nightmares of his childhood manifesting as he chooses to perpetuate it by antagonizing "Pyle" more as he demands the rifle so he can kill him with it. But the seeds of his abuse sow a total whirlwind as "Pyle" slays the monster to shoot Hartman dead through the heart before killing himself. As he lay on the Head deck dying, Hartman curses God and all his recruits for abandoning the perfect killing man as darkness consumes him.

Epilogue (Hell)

Finally arriving in some representation of Hell; Hartman is hounded by the spirits of people he chose to hurt as he bellows his obscenities and futilely tries to grab at and hurt them all again. If he chose not to reject or doubt the strength and love of his sisters over simple infantile play, Hartman might not be in the self-inflicted punishment he is in. Hartman can only lash out at the imps and visions around him - especially of "Private Pyle" that he's always hated everything and never wanted love from family or his friends, only death and violence. Roll credits...

The Overall subtext hidden in plain sight in SK's films is there to be seen once you know, which also fits in alignment to my own personal worldview of Humanity. So 'The Shining' is overall about the fallen and corruptible nature and pure pointlesness of Man's striving for perfection, legacy or immortality. A Denial of Death. Existential dread & Cosmic Horror.

'Barry Lyndon' Social status for futile Extension, 'Lolita' & 'Eyes Wide Shut' , using sex for death denial. 'Doctor Strangelove' , nuclear 'nihilation of all life brought by the striving for Extension.

Student War dream film, vietnam war films, sandals war films.

Kubrick: Yes, for those who manage somehow to cope with our mortality. The very meaninglessness of life forces a man to create his own meaning. Children, of course, begin life with an untarnished sense of wonder, a capacity to experience total joy at something as simple as the greenness of a leaf; but as they grow older, the awareness of death and decay begins to impinge on their consciousness and subtly erode their joie de vivre (a keen enjoyment of living), their idealism — and their assumption of immortality.

As a child matures, he sees death and pain everywhere about him, and begins to lose faith in the ultimate goodness of man. But if he’s reasonably strong — and lucky — he can emerge from this twilight of the soul into a rebirth of life’s élan (enthusiastic and assured vigor and liveliness).

Both because of and in spite of his awareness of the meaninglessness of life, he can forge a fresh sense of purpose and affirmation. He may not recapture the same pure sense of wonder he was born with, but he can shape something far more enduring and sustaining.

The most terrifying fact about the universe is not that it is hostile but that it is indifferent; but if we can come to terms with this indifference and accept the challenges of life within the boundaries of death — however mutable man may be able to make them — our existence as a species can have genuine meaning and fulfillment. However vast the darkness, we must supply our own light.'

— Stanley Kubrick, interview with Playboy,

I believe that Kubrick embedded his very bleak view of humanity & existence in general with a subversive undercurrent of the Absurd. He is a Joker of film and brought a tragicomic flavour throughout all his films. His films go against the expectation as his Message is in alignment with a pessimisticworldview found within 'The Conspiracy Against The Human Race' , Thomas Logotti, or Ernest Becker's 'The Denial of Death' + 'Escape from Evil'. The juxtaposition of extreme absurd humour is embedded throughout his films. This is why he is my favourite director as even though each individual reads into each film with their own conspiracy theory or out there theory, the Real overarching Theme in Kubrick films is much, much darker.

Overall = 'However vast the darkness, we must supply our own light'

2001 Space Odyssey = Starchild supplies his own light after experiencing the awareness of the Divine Comedy via void blackness of the Monolith.

The Shining = Obvious supply of Danny's own light in conflict of the Overlook's corrupting darkness.

...

With this Worldview , where else in Stanley Kubrick's films do you see this Overall Theme & examples? =

Hi y'all!

I'm a tad confused as I've seen a lot of contradicting info. What aspect ratio is intended? Is it available to watch in HD in that format? Is there a fan edit?

also saw there is a 35mm scan of the movie that fans did, is that closer to what Kubrick intended?

[Movies/Books] For the Love of Fiction | Episode 23 The Shining NSFW

An in-depth analysis of The Shining and it's sequel Doctor Sleep

For the Love of Fiction is an analysis of narrative in a wide range of mediums, ranging from comics, movies, books and computer games.

G.M.Groves (Podcast Creator)

The idea is that all "they" would have needed to edit is the letter to obfuscate things. No need to cut out 20 minutes. Or bring Spielberg (or use Pollack) for reshoot scenes.

It is said that the letter referred to Bill taking his daughter to the store for the men to... take. And this is why Alice was so upset. Also, it would explain why Bill was given an empty warning. This group would not have give Bill a second chance. It could also connect with Milich's "daughter", hence his odd relationship with her. I don't know.

How would you rank Kubrick's films in order of alleged hidden meaning by people on the Internet?

Or, alternatively, how would you rank them in order of being open to interpretation.

Like most Kubrick fans I’ve watched many fan theories on YouTube or read about them online.

I have never found any theory that I’m 90-100% convinced to be true. Whether it’s the diamonds theory or any garbage from Room 237.

Are there any that you actually believe to be 100% true?

Everyone the smaller version of the big collector's "Stanley Kubrick's The Shining" book is finally available from Taschen! The Beverly Hills store are having a book signing event in early December with Lee Unkrich, I was able to reserve a copy to be signed and ship to me (: They are taking orders by phone or email!

A podcast that goes into the man behind the story:

https://www.tworobotstalking.com/p/episode-6-the-troubled-genius-gustav

happy halloween from the Overlook

Got this for my birthday, very excited to start it!

A few digital paintings I've made over the years.

Barry 1

Barry 2

Wendy

Stanley

There are several similarities between the two films. Both feature the color yellow in their posters and portray America as a character. Additionally, both films have an outdoorsy Americana vibe, and Jack Nicholson plays an alcoholic in both. I think Kubrick was inspired by Dennis Hopper's film and cast Jack Nicholson because of it.

I know Kubrick is using hexadecimal code in Eyes Wide Shut.

Several things point to this:

• the stars at Zieglers party have 8 outer points, and 8 inner points.
• When Sandor Szavost is dancing with Alice and she says “not…just…now” she says the word “now” at exactly 16 minutes in the movie.
• When Bill enters his apartment after the party, “5A” can be seen. 5A in hexadecimal is “90”
• Ziegler has exactly 16 balls left on the pool table at the end when he and Bill are speaking together.

This has led me to some conclusions

• Lou Nathanson is still alive. The number on the outside of Lou’s house is “7B”. When transposed from Hexadecimal to a decimal it’s “123”. The license plate of the car that hands bill the note is “BQR-123”
• Mandy wasn’t poisoned, she is just unlucky. When Bill visits Mandy’s body in the morgue the numbers “19” are visible above her locker. 19 when converted into hexadecimal is “13” the most unlucky number. At exactly 13 minutes is when you see Mandy passed out in Zieglers office. And Bill finds out about her death in a newspaper that reads “LUCKY TO BE ALIVE”, on the other side, is the story of her death.

”But how could Lou Nathanson be alive if he is clearly dead?”

• That’s the whole title of the movie
• Bill never checked his pulse because he’s (admittedly) a bad doctor.
• Lou would still be warm because he “came over as soon as he got the message”

”Okay, but why would Lou Nathanson still be alive?” Bill lies about nearly everything he says.

• He lies about not being jealous of Alice, as you watch his fantasy throughout the film.
• He lies about where he is to his wife at Domino’s apartment.
• He lies when he tells Mandy that she’s a “very lucky girl” because she’s not. She OD’d. Twice.
• He lies throughout the party
• Bill is an unreliable protagonist. With that in mind, it’s my belief that Bill was gaslighting Marion (Lou’s daughter) and they had been having a casual affair. It would make Lou upset that someone is messing with his daughter’s head.

This makes me believe that Bill is also sleeping with Zieglers wife so Ziegler and Nathanson organized the whole thing. They are the two in the Masks that nod at bill at the party. I mostly assume this by the red dress that Zieglers wife is wearing because color is such a strong theme. But this is where it starts to get tricky.

Hexadecimal code is used throughout to signify important parts. But hexadecimal code is also widely used to represent RGB colors on the computer. As in the rainbow— one of the biggest themes of the film. He also hints at this with the stars at Zieglers party: 16 points with colorful lights on them.

I know that Kubrick is definitely hiding colors or another message. I just haven’t gotten that far yet. I don’t know if he’s painting a literal picture…or he’s trying to signify an emotion, or even like an actual message. But art is literally everywhere in the film. This is the largest part of this conspiracy that idek if I’m smart enough to crack. He’s definitely using hexadecimal colors…but idk where or how. So…calling all code nerds. Help me out.

He is for sure using hexadecimal. But I think that’s only half the puzzle.

https://youtube.com/clip/UgkxAzgMDhQI0VdStzt78H9uRqUDg-FmklZ_?si=Ds9vF78Wib2t71jk

I'm watching Kubrick's full filmography in order of release. I hadn't seen Lolita in a while, and I had totally forgotten that it begins with a reference to Kubrick's previous film Spartacus. I remember that Kubrick left a few other self-referential Easter eggs in Clockwork Orange, like the 2001 Soundtrack album on display at the record shop Alex visits. I'm sure I'll come across plenty more as a review his full work.

I'm going to see it tomorrow and i just wanted to share my excitement! Of course i have never seen it like this before.

Maybe some of you have seen the film in theater and would like to share your experiences? How is it better? Assuming it is so.

It says that it will be screened in 70mm. What do you think this means?

I love and appreciate the mystique behind Kubrick’s work, but this one seems to give it to us pretty plain and simple - and with a good bit of humor. Some of the fan theories are beyond the works of Lynch and honestly seem to diminish what’s right there for us to experience as viewers. What do you think?

So, the dates are circling somewhere December-ish.

I've been a fan of Kubrick for years but do to lack of free time I've posponed watching some of his movies. Last night I finally watched 2001. What a masterpiece. I watched it on my computer monitor which is not fancy at all and it looked it insane, I've never seen a red like the one on Dave's spacesuit helmet and the light of the halls of the Discovery looked so good, I can't even imagine how this film looks on bigger and better screens.

But man, art is not only about visuals but the way it makes you feel right? I'm not exaggerating when I say I've probably never felt in such a specific way in my life, let alone watching a movie. The scene at the end when Dave is in the human zoo/french room and he is dying in his bed and raises his arm... it was so intense, I'm unable to put it somewhere in the happiness-sadness spectrum, it just made me feel so emotional. What a pro you have to be to make the audience feel in such a way without the need to make the characters say a single word.

My only regret is not putting more thought into the themes of the film before rushing to this subreddit and other forums to do research about it. I wish I waited a while to absorb it and make my own conclusions. I just couldn't help it! As soon as it ended I stormed the internet in order to read theories and analysis.

What y'all think of this 1951 short film? It was produced by RKO Pictures, and Kubrick did the cinematography, screenplay, and direction. It's considered one of the most radical motion pictures of the 1950s.

It tells the story of father Fred Stadtmuller, a priest who flies over new mexico to serve his remote parishes. The film (which is a documentary) showcases the priest's daily routine, including his crazy aerial mass.

I like it very much and along The Shining and 2001, it is one my favorite kubrick works.

If you've not heard the entire 14-minute cut of 'Timesteps' by Wendy Carlos, featured on the 'Wendy Carlos's Clockwork Orange album', you absolutely should. Mindblowing stuff truly.