By Greg Mucci
It is not a series of legible images or a black screen that opens A Clockwork Orange, Stanley Kubrick’s operatic adaptation of Anthony Burgess’ classic dystopian novel; but an overlay of colors. First a burning red fills the screen, a color often evoking associations with rage, danger and power. It raises one’s blood pressure, accelerates the heart rate and elicits erotic feelings. Then the image flips to a deep blue, generating the opposite effects of red: calm, truth, and sincerity. It cuts back to red before resting on Alex, (played by Malcolm McDowell), a delinquent who chooses a life of crime. His dangerous yet youthful beauty is as contradictory as the interplay of colors. Already this display of colors provokes emotional conflicts. But the music that plays against these emotions just might fuel them, as our film opens against English composer Henry Purcell’s 1695 Music for the Funeral of Queen Mary, reimagined for synthesizer by electronic music pioneer Wendy Carlos. In bringing her own specific flourish to classical composers such as Purcell, Beethoven, and Rozzini, Carlos works at distorting the films use of music in order to manipulate the way in which we engage and interact, ultimately controlling our free will through a marriage of sights and sounds.