A Clockwork Orange
The Real Cure: A Clockwork Orange’s Missing Ending
Page to Screen is a recurring column in which CoS Editorial Director Matt Melis explores how either a classic or contemporary work of literature made the sometimes triumphant, often disastrous leap from prose to film. Novelists can’t choose how they’ll be remembered — that is, which of their creations will be favored after they’ve, to borrow a phrase, snuffed it. Once wielding autocratic control over every thought, action, and detail attributed to their characters, they cede that unique monopoly upon publication. It then belongs to others, who, if sales are strong, will reimagine those stories — those very intimate and specific ideas — a million times over in infinitely different ways. The writer goes from being a de facto Bog or God to, in extreme cases, a slave to press clippi...
National Film Registry Adds The Dark Night, Shrek, A Clockwork Orange, Record Number of Films by Women
The Dark Knight (Warner Bros.), Shrek (DreamWorks), and A Clockwork Orange (Warner Bros.) The Library of Congress has announced the next crop of 25 movies admitted into the National Film Registry, as NPR reports. The class of 2020 includes Stanley Kubrick’s masterpiece A Clockwork Orange, recent blockbusters The Dark Knight and Shrek, and a record number of films made by women. As with last year’s list, there are several films that are so obviously classics, it’s a surprise they haven’t been added already. The unsinkable 1978 musical Grease fits that description, as does the Charlie Chaplin flick Kid Auto Races at Venice (1914), Wim Wender’s 1999 documentary about Cuban musicians, The Buena Vista Social Club, and, if you’re of a certain generation, The Bl...
