babble is rabble.ca's discussion board but it's much more than that: it's an online community for folks who just won't shut up. It's a place to tell each other — and the world — what's up with our work and campaigns.
I'd pick Sarah Polley for director, and maybe Ellen Page could play "Alexa" DeLarge. I thought she was good in Inception. Or even Natalie Gumede from Coronation Street.
I'd pick Sarah Polley for director, and maybe Ellen Page could play "Alexa" DeLarge. I thought she was good in Inception. Or even Natalie Gumede from Coronation Street.
I think any attempt to recreate Kubrick's work would be a dog's breakfast, and a contemporary re-telling of Burgess's novel would be a completely different beast.
It's important to remember how difficult the work was and is - so much so that Kubrick withdrew it from distribution in Britain for 27 years. That.... and the dispute between the author and the film maker over the translation.
Perhaps I've misunderstood Fidel's suggestion, but I was thinking of a Kubrick remake as an updated adaptation of the novel, without the last chapter. As difficult as that may be, I like the idea of a female director, and a female character because it might prove interesting to explore the distaff side of delinquency, and I think women are best suited to explore that aspect of their nature.
It was a thought provoking film in its day. I think Hollywood is running out of new and interesting plots and sometimes resort to riding the coattails of previous box office successes. When watching them for the first time the classics always surprise me with the story lines and plots. Some people have pointed out that they didn't have great special FX in the old days and so were forced to deliver the goods with the acting end of things.
Hollywood has always been conservative, but nowadays, producing films has become so expensive, that the studios have become risk averse to the point of recycling the same old plot lines, not just to avoid controversy, but to preclude a major bomb at the box office. So, they recycle material that was once successful, and refresh it with new technology, actors, etc.. That's why we've seen several iterations of The Body Snatchers (we're probably due for another). A Clockwork Orange, both the novel and Kubrick's interpretation, beg for a contemporary 'treatment' of the Alex(a) character, as an exegesis to today's nihilism, as witnessed, presently, in these times of austerity. Burgess, I believe, was essentially a moralist. Hollywood is as morally bankrupt as the system it reflects and perpetuates. To do it justice, A Clockwork Orange needs to be beyond entertainment. Unfortunately, I don't think such films are made these days.
I love the seen at the end when the French soldiers are silenced by the German chanteuse
Indeed, Dax was about to write off his men as animals, but the young woman's singing touched a cord that brought out their humanity. Incidentally, Kubrick married the young actress, Susanne Christian, and they remained together until his death.
I'd pick Sarah Polley for director, and maybe Ellen Page could play "Alexa" DeLarge. I thought she was good in Inception. Or even Natalie Gumede from Coronation Street.
I like it!
I think any attempt to recreate Kubrick's work would be a dog's breakfast, and a contemporary re-telling of Burgess's novel would be a completely different beast.
It's important to remember how difficult the work was and is - so much so that Kubrick withdrew it from distribution in Britain for 27 years. That.... and the dispute between the author and the film maker over the translation.
Perhaps I've misunderstood Fidel's suggestion, but I was thinking of a Kubrick remake as an updated adaptation of the novel, without the last chapter. As difficult as that may be, I like the idea of a female director, and a female character because it might prove interesting to explore the distaff side of delinquency, and I think women are best suited to explore that aspect of their nature.
It was a thought provoking film in its day. I think Hollywood is running out of new and interesting plots and sometimes resort to riding the coattails of previous box office successes. When watching them for the first time the classics always surprise me with the story lines and plots. Some people have pointed out that they didn't have great special FX in the old days and so were forced to deliver the goods with the acting end of things.
Hollywood has always been conservative, but nowadays, producing films has become so expensive, that the studios have become risk averse to the point of recycling the same old plot lines, not just to avoid controversy, but to preclude a major bomb at the box office. So, they recycle material that was once successful, and refresh it with new technology, actors, etc.. That's why we've seen several iterations of The Body Snatchers (we're probably due for another). A Clockwork Orange, both the novel and Kubrick's interpretation, beg for a contemporary 'treatment' of the Alex(a) character, as an exegesis to today's nihilism, as witnessed, presently, in these times of austerity. Burgess, I believe, was essentially a moralist. Hollywood is as morally bankrupt as the system it reflects and perpetuates. To do it justice, A Clockwork Orange needs to be beyond entertainment. Unfortunately, I don't think such films are made these days.
[sideways]And here she is telling us why she prefers living in Toronto and making films in Canada. Video: Why Sarah Polley loves making films in Canada
"Paths of Glory": any thoughts?
I love the seen at the end when the French soldiers are silenced by the German chanteuse
Indeed, Dax was about to write off his men as animals, but the young woman's singing touched a cord that brought out their humanity. Incidentally, Kubrick married the young actress, Susanne Christian, and they remained together until his death.
Stop-motion Lego Dr. Strangelove
Good catch CF. I did see it on boingboing yesterday. I don't know wny they gave the Russian ambassador a moustache, though.
Do I need to increase the insurance on my bodily fluids?