Negli ultimi mesi Malcolm McDowell ci aveva abituato a digerire il suo graduale cambio di atteggiamento nei confronti del film che lo ha reso famoso e del regista che lo ha diretto nel ruolo immortale di Alex DeLarge. Guardando nell'insieme la sua parabola, possiamo perfino paragonare il suo rapporto con Kubrick con quello dei critici verso Arancia Meccanica: incomprensione e iniziale rigetto, poi rivalutazione e affetto.
Ecco cosa l'elaborazione personale di un'esperienza traumatica porta a dire oggi: "Stiamo parlando di recitare in un film diretto da un regista leggendario. Non ho dovuto mica pensarci. Non mi sarebbe importato nulla se Kubrick mi avesse chiesto di leggere l'elenco telefonico."
Et voila, paziente guarito.
McDowell reflects on breakthrough role, Lisa Wilton, Calgary Sun 20.04.2010
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A seguito della Calgary Comic & Entertainment Expo, che si terrà il 24 e il 25 aprile, nei quotidiani online della zona sono stati pubblicati ulteriori articoli con alcune dichiarazioni che Malcolm McDowell ha rilasciato al pubblico.
About the early controversy surrounding A Clockwork Orange. (The Catholic Church “condemned” the film in America and director Stanley Kubrick had it withdrawn from British theatres after it was blamed for causing violence.): “My reaction was ‘good God, they are missing the whole point of the movie.’ This is a satirical, funny, black comedy and they just don’t get it. I watched it in New York, it was jammed. It was the most successful movie that Warner made that year. It was dead silence watching the entire movie. It was like, ‘They just don’t get it. Maybe it’s an English sensibility, this black humour thing.’ I didn’t realize the audience coming to it were overwhelmed by the visuals and how extraordinary Kubrick made it look.”
From A Clockwork Orange to Caligula Malcolm McDowell expounds on some of his most famous roles, Eric Volmers, Calgary Herald 22.04.2010
The mercurial Kubrick decided the actor — who the director had seen play a rebellious teen at a strict British school in Lindsay Anderson’s classic If.... a few years earlier — was the one and only choice for the role. “I asked him, actually, why he chose me,” McDowell says. “He said ‘Well, there’s many ways to go with this part, but what really got me about him is his intelligence. I needed an actor who could portray intelligence without having to act it.’ ” [...] “I think the movie was so overwhelming that nobody offered me a job,” he says. “Nobody offered me anything interesting. I got nothing from Hollywood.” [...]
So while McDowell’s bulging filmography may include a few duds, it has also allowed him to work with three of modern cinema’s most enduring mavericks: Altman, Kubrick and Anderson. “They all work completely differently and it’s my job as the actor to be a chameleon,” he says. “For whatever style they are working in, you adapt to that. Lindsay was a man of the theatre, so would talk about the psychology of a theme. He wasn’t into reality, but he was into real. Reality bored him. Stanley was more interested in the look rather than the actors, and he didn’t want to discuss anything to do with the character. Bob Altman was great fun. Actors loved working for Bob. They get to do their thing. It’s wonderful to make up stuff and improvise.”
Malcolm McDowell finds good in being bad, Eric Volmers, Calgary Herald 22.04.2010
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