Mise-en-scene: The Intro Sequence to A Clockwork Orange

I've chosen 'A Clockwork Orange', directed by Stanley Kubrick for my Mise-en-scene analysis.

The elements of mise-en-scene are the setting, lighting, cinematography, actor direction, props and costume.  

From my research, I discovered that after the success of '2001-Space Odyssey', Kubrick wanted to make more challenging, personal film, especially considering that '2001' did not make enough money for another big budget spectacle, despite it's critical acclaim. So Kubrick set out to prove that he could create as much of a visual masterpiece in low-budget form, and the idea that set him to create such a film was ' A Clockwork Orange' by Anthony Burgess.

 I chose the introduction sequence of the movie in particular since I feel that it's a perfect example for setting mise-en-scene, and for what's to come for the rest of the movie.

• The Setting:

 The setting of the Corova Milk Bar is incredibly surreal and serves it job in this sequences to set out the tone for the rest of the movie. The almost black background seems to represent the ominous and unsettling world we as an audience are about to enter, yet there are many essences of harsh realism that still grounds us down , to the fact that we not that this is not some fantasy land, but a dystopian world riddled with chaotic ideals.

On of the many essences is the décor of this Milk Bar we have entered; The tables and drink dispensers are fashioned into sculptures of naked woman in very risqué poses; the walls are lined with white advertisements for the drinks in a bizarre font, as well as erotic artworks that'll be seen throughout the film.

• Lighting/Cinematography:

 The camera work here really helps in distinguishing this as one of the most iconic intro sequences in film. Kubrick never usually seems to use the traditional fade-in transition from scene to scene in his movies, and when this type of transition does occur, it's through clever use of imagery, such as the bone thrown in the air becoming the spaceship in "2001: A Scape Odyssey". The harsh jump cut from the title cards to the very first shot (an extreme close up of Alex DeLarge's face) seems ideal since the movies purpose is to shock and be harsh, so Kubrick would never ease his audience into it and would just throw them into this maniacal world.

The way this sequence plays out is in time with the music playing over. The close up of Alex's face slowly pans back and zooms out to eventually reveal the audience the setting and the environment described. It's an exceptional use of story-telling; starting off with our "hero" and zooms out to revel his companions who we will also be following, and then gradually reveal the rest of the environment, letting us have a glimpse at the people and place-settings we will encounter throughout the film. Kurbrick used this to literally 'set' the mood for the rest of the movie, and originally the entire scene was to be static (save for the zoom out) until Malcolm MacDowell ad-libbed an action for Alex in "toasting the audience" which Kubrick allowed.

The lighting also plays a huge part in the movie, particularly with Kubrick's keen use of it, having being an experience photographer himself. The lighting here, however, is somewhat more ominous in terms with later scenes, where we are in brightly lit interiors of homes to juxtapose the horrific violent actions that take place there. Here, the milk bar is very darkly lit, save for enough light to illuminate the white writing on the black walls as well as the characters an their white attire. The most light in this scene resonates from the lower levels of the set, rather that up higher. This could be to establish a somewhat uncomfortable setting as the light is close to the characters and a majority of the objects/subjects within the set, causing the illusion of a confined and claustrophobic atmosphere.

• Props and Costume:

Costumes seem to be very important to this movie in terms of creating the character visually. Almost every character in the movie is dressed to look surreal, flamboyant and over-the-top, and this will later be useful when we see more of the almost "unnatural" way of actors' performances.

However, the first characters are monochromatic in the way they dress, save for the odd and somewhat effeminate make-up the characters wear. I suppose the idea is to show that even though these are our protagonists, there are in no way associated with "good", as many will associate black and white with a dark and unhappy look, as opposed to bright colours.

The costumes on our main characters are somewhat of a dark satire on youth. In the traditional sense when one thinks of a thuggish youth, sport garments seem to be a common look. But this gangs' attire seems similar to cricket garments, a sport associated as a high class event that is much more dignified than sports such as football or rugby. I suppose this is to show they are still thugs, but have more ambition in mind than simply mindless violence. They are here to enjoy themselves in many other ways! The hats are also quite dignified in fashion to further this look. A gentleman-ly appearance to juxtapose their true intentions on how to spend a "fun night!"

The make-up is also a strange addition. Very feminine and only seems to be applied on one facial feature. This could be further juxtaposition since they are in a heavily sexualized place that is dominantly male, and that sex plays a big part in Alex's lifestyle, as well as the other male youths. But a truly sexualized garment to reinforce this idea is the exaggerated cod-pieces the gang members wear, an obvious symbol of male dominance.

 

• Actors

A majority of the actors, save for the main lead and central focus, are posed and still throughout this sequence, as if to simulate a static image like a photograph. It's as though they are part of the scenery, and just another part of Alex's world than actual people that he feels connected to.

Alex himself is the only one moving, albeit subtle. The close up shot on his face shows his malicious expression as he stares at the audience, subtly breaking the fourth wall. Another action of this as well as portraying the ominous yet dignified personality of Alex, was as the camera begins to zoom out, he raises his glass to "toast" the audience.

Normally within this film, Kubrick didn't allow as much improve from the actors as he would later do in future projects like 'Full Metal Jacket', but he kept this scene of Malcolm MacDowell performing this action after he told Kubrick, when questioned about it, "I was letting the audience know they were in for one hell of a ride!" 

• Music

The music used here was

• Credits/Narration