To the creator of films as well as other forms of literature, the dark side of human nature has often proved more rich and interesting than the bright. Films and books on the lives of saints have not been as popular as murder mysteries and works of horror. While we may have no desire to experience them in our own lives, terrible deeds and evil people exert their perverse attraction on our psyches. We who consider ourselves moral and upright are often fascinated by the behavior of the pitiless, merciless, and guiltless psychopath. Like a magnificent Black Panther: powerful, dangerous, and alien, the psychopathic character can have a dark, perfect beauty that simultaneously attracts and repels us. We will explore the use of such characters in the films of Stanley Kubrick, the 20th century film auteur as it relates to his view of the nature of both individuals and human institutions. (Banks)

Stanley Kubrick was born in the Bronx, New York, on 26 July 1928, to Jacques L. Kubrick, a doctor, and Gertrude (Perveler) Kubrick. Kubrick had one sister, Barbara, now Mrs. Robert Kroner. As a child, Kubrick was fascinated by the extensive collection

Once again, the violence is presented in a very peculiar light. It's ironic that while Alex is regulating his friends through the use of rudimentary violence, we hear Beethoven in the background. Also, the background architecture has a light and floating quality, adding more beauty to this nefarious scene. And this is a reoccurring theme of the movie. Whenever a gory event takes place, beautiful music, dialogue or background accompanies it. This is also true about Alex himself. A shameless and ruthless thug should listen to something ugly to match his personality, and his reprehensible activities should be accompanied by music equally distasteful to his demeanor, but in A Clockwork Orange, and generally with Kubrick, only one thing is distasteful: convention. Violence is beauty, violence is art, and very few individuals are capable of mastering it. Kubrick was one of the few.

I will end my analysis by discussing one of the last scenes of Full Metal Jacket. Like the previous scene, this scene is also eerie and surreal. Although it takes place during the actual war, the colors and camera movement indicate that this chaos is not much different form that of the boot camp. In this final scene, Joker and a few other soldiers are being haunted by some evil, Vietnamese sniper, who keeps killing them one by one. The farther they advance, the more people they lose, but human casualties are a minor concern, for these brave soldiers are "serving their country." At last, they figure out the building the sniper is in and they are ready to storm it. When they shoot the sniper, who relentlessly killed their people, they are stunned to find out that the ruthless sniper is a young Vietnamese girl, who gives up her life to protect her liberty. She is fatally wounded and she twitches on the floor, she murmurs something in her "funny" language. The camera closes up on her from the top. This camera angle magnifies her emaciated body and face, so any spectator can only feel pity for her. Brown color dominates the scene. To evince their exhausted faces, the camera slowly circles the group of soldiers surrounding the young girl. They are puzzled. Obviously, they didn't expect the sniper to be a teenage girl, so they're waiting for answers. What the hell are they doing there? Then, the camera circles the remains of the room they are in, indicating chaos and destruction of the war, searching for answers, but unable to find any. After praying to her G-d, the girl indistinctly mumbles, "Shoot me... shoot me..." (Kubrick, 1987) Joker, who could not shoot her in the first place, contemplates, then, takes out his gun and grants her the favor she asked for. Is it because he can't stand the poor girl's suffering, or is it because it's too easy and too tempting to be in charge of someone's life? Only Joker knows the answer, but it does not really matter. He has officially become a killing machine. Yet, we still sympathize with him, just like we sympathize with pitiless, murderous Alex of A Clockwork Orange. Kubrick transforms violence into something holy, something that's necessary to our survival. Violence attracts most of us, and when it's delivered in Kubrick's, spectacular style, we worship it.

When A Clockwork Orange came out in 1971, it was widely bemoaned by the critics around the globe. But despite its initial X rating and banning in various countries, the movie quickly became a fan-favorite and started a cult following.

The next film landmark of Kubrick's career is Full Metal Jacket, which is no less distressing, repulsive, and exquisite than A Clockwork Orange. The main difference between the two is time. A Clockwork Orange takes place in the vague future whereas Full Metal Jacket is a movie about a specific epoch: the Vietnam War. Considered the greatest war movie ever made, Full Metal Jacket is not a typical war movie. Once again, we cannot forget that it's directed by Kubrick, which by definition exclude

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