Back in 2001, photographer Merrick Morton—who also happens to be a reserve LAPD officer—came upon a massive archive of Los Angeles Police Department crime scene and evidence photos which had been hidden for decades in a huge storage facility in downtown LA. The photos were buried among 150 years of police records in cardboard boxes.
When it was discovered that some of the boxes contained decomposing cellulose nitrate negatives, a serious fire hazard, the Fire Department recommended that all the negatives be destroyed. The team lobbied for the archive to be only selectively destroyed and their efforts paid off; some boxes of images were determined to be unsalvageable and destroyed, while the remaining images were sent to a cold storage facility where they reside today.
Around one million photos have been unearthed so far and choice selections, presented by Fototeka, will be exhibited at Paramount Pictures Studios from April 25-27 in Los Angeles.
Kony 2012 campaigner Jason Russell has been arrested for masturbating in public the Guardian reports:
One of the co-founders of Invisible Children, the San Diego-based charity which is campaigning for the arrest of Ugandan warlord Joseph Kony, has been hospitalised after police said he was detained for being naked and masturbating in public.
Jason Russell, 33, was picked up by police in San Diego at around 11.30am on Thursday after receiving numerous calls from the public about a man vandalising cars, being apparently under the influence of a substance and making sexual gestures while wearing only his underwear.
According to local TV station NBC, San Diego police spokeswoman Lieutenant Andra Brown told a press conference in the city that Russell was co-operative as he was detained by officers. “He was no problem for the police department. However, during the evaluation we learned that we probably needed to take care of him. So officers detained him and transferred him to a local medical facility for further evaluation and treatment,” she said.
A brief statement by the Ben Keesey of Invisible Children said:
“Jason Russell was unfortunately hospitalised suffering from exhaustion, dehydration and malnutrition. He is now receiving medical care and is focused on getting better.
“The past two weeks have taken a severe emotional toll on all of us and that toll manifested itself in an unfortunate incident yesterday. Jason’s passion and bis work have done so much to help so many and we are are devastated to see him dealing with this personal health issue.”
Young troublesome teenagers may soon find themselves in a spot of bother, when Cardiff Police introduce pink beautician’s lights to disperse their unwanted presence. The “acne lights” will highlight any spots, boils, pimples, and blotches, which it is hoped will lead to much hilarity and so disperse the gangs. The police response comes after 18 ASBOs (Anti-Social Behavior Orders) were issued over the last 6 weeks. Acne lights have been previously used in Nottinghamshire. The Cardiff police are also considering other deterrents, including high-pitched mosquito alarms, and classical music.
I wonder what’s to stop these pesky kids from smashing the lights or nicking the speakers?
Though there is a terrible tragedy at the heart of this story, I do wonder what David Icke will make about the news that human remains have been discovered on the Queen’s estate, Sandringham, in Norfolk, England.
A police investigation was launched after a dog walker reported discovering the remains around 16.00 hours on New Year’s Day. The Queen and Prince Philip, who are currently staying at the estate were told of the find on Monday night.
The body was discovered shortly after the Royals attended a church service on Sunday.
Police said that a “detailed search” was being carried throughout the area of woodland in Anmer, near King’s Lynn, which is east of Sandringham House.
It remained unclear on Monday night how long the remains had been there, if they are in fact a body, if they had been identified, or the age of the victim or victims. The dog walker has also not been named.
The story has set David Icke’s forum buzzing, where one commentator (no doubt in regard of Icke’s theory that the Royals are shape-shifting, reptilian cannibals) wrote:
‘What if everyone suddenly foud out that David was right all along? It would blow their fucking minds. Spooky start to 2012…....’
Come to think of it, has anyone seen Icke recently?
Here’s Mr icke on money, religion, royalty and shape-shifting.
The recent News of the World ‘phone hacking scandal wasn’t the first time the red top used illicit means to obtain stories. Back in the swinging sixties, the paper regularly bartered with the police for information to use in its pages.
One of the News of the World’s tip-offs to the cops led to the most infamous drugs trial of the twentieth century, where Mick Jagger, Keith Richard of The Rolling Stones, and art dealer Robert Fraser were imprisoned in an apparent attempt to destroy the band’s corrupting influence over the nation’s youth.
For the first time, the true story behind the arrests and trial is revealed by Simon Wells in his excellent book Butterfly on a Wheel: The Great Rolling Stones Drugs Bust. Wells’ previous work includes books on The Beatles and The Stones, British Cinema and most recently, a powerful and disturbing biography of Charles Manson. In an exclusive interview with Dangerous Minds, Wells explained his interest in The Stones drugs bust:
‘As a student of the 1960s it was perhaps inevitable that I would collide with the whole Redlands’ issue at some point. Probably like anyone with a passing interest in the Stones, I first knew about it mainly from legend - the “Mars Bar”, the fur rug, the “Butterfly On A Wheel” quote etc. However, like most of the events connected to the 1960s I was aware that there had to be a back story, and not what had been passed down into myth. This story proved to be no exception, and hopefully the facts are as sensational (if not more) than what has passed into mythology. Additionally, as a Sussexboy - I was familiar with the physical landscape of the story- so that was also attractive to me as well.’
Just after eight o’clock, on the evening of February 12 1967, the West Sussex police arrived at Keith Richards’ home, Redlands. Inside, Keith and his guests - including Mick Jagger, Marianne Faithfull, the gallery owner Robert Fraser, and “Acid King” David Schneiderman - shared in the quiet warmth of a day taking LSD. Relaxed, they listened to music, oblivious to the police gathering outside. The first intimation something was about to happen came when a face appeared, pressed against the window.
It must be a fan. Who else could it be? But Keith noticed it was a “little old lady”. Strange kind of fan. If we ignore her. She’ll go away.
Then it came, a loud, urgent banging on the front door. Robert Fraser quipped, “Don’t answer. It must be tradesmen. Gentlemen ring up first.” Marianne Faithfull whispered, “If we don’t make any noise, if we’re all really quiet, they’ll go away.” But they didn’t.
When Richards opened the door, he was confronted by 18 police officers led by Police Chief Inspector Gordon Dinely, who presented Richards with a warrant to “search the premises and the persons in them, under the Dangerous Drugs Act 1965.”
This then was the start to the infamous trial of Mick Jagger, Keith Richards and Robert Fraser.
More on Simon Wells ‘The Great Rolling Stones Drugs Bust’, after the jump…
‘I think if you show this film to one thousand people, two will finish it. One of those will hate it. The other one won’t understand a damn bit of it. It’s too long and most people just won’t put up with it.’
A harsh and unfair summation from such a talented and original film-maker.
I like Alessandro Cima’s work, for it demands the full attention and response of its audience - it’s not enough to watch, Cima wants you to think about what you’re watching and question it. Dangerous film-making in these days of empty CGI spectacle and the worn words of scripts edited by focus group.
Films should be dangerous, and as Orson Welles once said:
‘A film is never really good unless the camera is an eye in the head of a poet.’
Which is a fair description of Cima’s vision.
Even so, he’s correct. Detective City Angel will not be to everyone’s taste - why should it? It’s a dream film that crosses genres, and plays with identity and authorship. it also hints at Goddard, Anger, Polanski, and Jarman, but is very much Cima’s film, in his own distinct style. Alessandro explained some of the ideas behind Detective City Angel to Dangerous Minds:
‘It’s a dream noir about Los Angeles and the unconscious creative mind which has several parts in conflict at all times. That conflict is deadly and life-affirming at the same time. The detective is perhaps an imaginary threat of failure, inertia or the eventual exposure of an artist’s feelings of fraudulence. The city is both muse and death dealer. Its outward mask presents sexuality and beauty which conceal a vicious survival of the fittest. The angel is seemingly innocent and always threatened with extinction. Its creative spirit is neurotic but ultimately pure. I try to balance all of these and keep them in some sort of pleasurable conflict.’
What was your intention in making it?
‘To make something totally mystifying. I wanted to mix genres in several ways. To mix the fundamental viewpoint of noir with documentary, abstract film, and narrative film, without any concern for reproducing the look and technique of noir. To make abstraction that collapses into a narrative, which sort of has the effect of making the viewer forget having seen the abstract part. I’m not sure if that works. It’s sort of like having a dream and not remembering what it was later in the day. I see no reason why experimental film should not mix freely with narrative film. In addition, I wanted to use the tendency toward secret identities in the world of street art and pull that into the crime genre. I think it’s a perfect fit and presents enormous possibilities for crime films.’
What drew you to the subject?
‘I’ve been somewhat involved with the art world and felt that the concealing of identity was in itself an interesting artwork. I was also intrigued by the surprisingly deep and wonderful history of Los Angeles. Noir and the crime film are the best available forms for representing L.A.
‘I make films in a rather dream-like state. I allow my thoughts to wander and actually spend time following false leads. I tend to operate in a general mode of playing with identity. No one is ever who they seem to be or think they are. The layering of image, sound and meaning demands that a viewer watch with extremely focused attention - a demand which is nearly impossible for a web viewer to fulfill. The film is a secret revealing itself very gradually and with many false impressions. It incorporates images that are both invented and real but it doesn’t want you to know which is which. Layering unrelated things, if done with seriousness, creates new meanings and propels a film in a direction that is not entirely under the director’s control. If something happens with layered images on any given day that suggests a new course for the film, then I take the new course. I use a few black & white found footage clips in this one to punch up certain noir/crime aspects.’
‘I’d drunk too much, I was irresponsible, criminal’
He revealed he had set fire, whether by accident or design was left unclear, to a prize collection of cacti. Cole Morton, who carried out the interview wrote:
First, though, I want to know if this readiness to please means he’ll confess to the unvarnished truth about an episode he once passed off as ‘a drunken prank’. My understanding is that it was much more than that. It was arson, actually. He could have gone to jail, ending his chances of a political career before it had even begun. The property he destroyed, deliberately, was priceless. Can we talk about the cactus?
‘Oh, the cactus,’ he says, placing his head in his hands for a moment, then rubbing his face. ‘I just behaved very, very badly. I was on an exchange in Germany and I drank far, far, far too much. I was a teenager. I lost it, really.’
Lost it? He does seem genuinely agitated. ‘What I mean is I was drunk…’ Yes, he said that. What on? ‘They had this beer brewed in monasteries near Munich. Kloster Andechs. Unbelievably strong. Which clearly I couldn’t take.’
Clegg was 16 years old, a public schoolboy abroad. So what happened? ‘Yeah… I, erm, I was at a party and I drifted into a greenhouse with a friend, saw it was full of cacti and lit a match to find our way, as there were no lights on. The flame accidentally touched one of the cacti, which glowed rather beautifully.’
Was it an accident, then? He looks at me. Only at first, it seems. ‘We did that to a fair number of the cacti. Not really knowing what we’d done.’
I can’t help but laugh, at the story and the look on his face, but he objects. He treated this like a joke when, cleverly, he made it public at a fringe meeting in 2007, before the leadership election. He doesn’t think it’s so funny now. ‘No, it’s not… I mean, genuinely.It was the leading collection of cacti in Germany.’
The greenhouse belonged to a professor of botany whose life’s work had been to gather and nurture exotic specimens from all over the world. ‘He’d been to the jungles of Brazil and stuff to find these cacti.’
The boys weren’t arrested, because they ran away. ‘We didn’t know what we were doing. We were teenagers, we’d drunk too much - frankly, we did behave appallingly, irresponsibly, criminally. Next morning, one of the organisers of the exchange rang me up and said, “We know you did this.” I came clean.’
The boys were taken off to see the professor, who was livid, but he was somehow persuaded not to press charges. ‘Instead they created a kind of community punishment for us. Me and the other bloke ended up having to dig communal flower beds in the baking sun. Then I spent the summer with my mum, going round one specialised garden centre after another, trying to replace some of the cacti. Of course they were tiny, and his were all large.’
Robber who broke into hair salon is beaten by its black-belt owner and kept as a sex slave for three days… fed only Viagra
The Mail reports on a Russian man who is said to have tried to rob a hair salon, but soon ended up as the victim when the female shop owner overpowered him, tied him up naked and then used him as a sex slave for 3 days.
Viktor Jasinski, 32, admitted to police that he had gone to the salon in Meshchovsk, Russia, with the intention of robbing it.
But the tables were turned dramatically when he found himself overcome by owner Olga Zajac, 28, who happened to be a black belt in karate.
She allegedly floored the would-be robber with a single kick.
Then, in a scene reminiscent of Quentin Tarantino’s Pulp Fiction, police say Zajac dragged the semi-conscious Jasinski to a back room of the salon and tied him up with a hair dryer cable.
She allegedly stripped him naked and, for the next three days, used him as a sex slave to ‘teach him a lesson’ - force feeding him Viagra to keep the lesson going.
The would-be robber was eventually released, with Zajak saying he had learned his lesson.
A blurred image of Olga Zajac, who allegedly held would-be robber Viktor Jasinski prisoner for 3 days in a back room of her hair salon, where she fed him Viagra and had sex with him “a couple of times”
Jasinski went straight to the police and told them of his back-room ordeal, saying that he had been held hostage, handcuffed naked to a radiator, and fed nothing but Viagra.
Both have now been arrested.
When police arrived to question Zahjac, she said: ‘What a bastard. Yes, we had sex a couple of times. But I bought him new jeans, gave him food and even gave him 1,000 roubles when he left.”
All far too reminiscent of that famous scene from Quentin Tarantino’s Pulp Fiction
Thanks to DM reader Tom for posting a link to Kiri Blakely‘s blog on Forbes, which explains that this story is over 2-years-old:
The entire wacky incident happened over two years ago, in April of 2009. Here is the Moscow Times story on it. The story wasn’t exactly underreported, either. Google “sex slave Moscow hair salon” and over 200,000 results come up, all of them dated April 2009.
The Daily Mail also acts like the Russian sex slave incident just happened today. Was there some new news here that would entail [the Daily Mail and Gawker] republishing this two-year-old story? Maybe a trial or sentencing or something? Not from what I can see in either the Gawker or Daily Mail pieces. It’s the same old story—though granted, it’s a good one!
In 1979, rock singer Frankie Miller landed the lead as Jake McQuillan in Peter McDougall‘s brilliant play Just A Boys’ Game. It was an incredible piece of casting for what was one of the best dramas produced for British TV in the seventies.
Indeed, it is fair to say McDougall, along with Dennis Potter and David Mercer, wrote some of the greatest and most powerful dramas produced during this time:
There can be no better justification for the modus operandi of the BBC drama department of the 1960s and 70s than the discovery of Peter McDougall. The most original Scottish voice of the era, McDougall might never have been given a break at any other time in broadcasting history.
McDougall started work at 14 in the Clydebank shipyards, alongside Billy Connolly. After a few years, he left and moved to London, where he became a house painter. One day, while painting actor and writer Colin Welland’s house, the young McDougall impressed the future Oscar-winner with his tales of marching and mace throwing in an Orange Walk. Welland encouraged McDougall to write his story down, which became the Italia Prix-winning drama, Just Another Saturday:
Just Another Saturday was first broadcast on 7 November 1975, as part of BBC2’s Play For Today. Britain, then as now, was a place of great inequality. Sectarian troubles in Northern Ireland were at their height. Issues of Scottish independence/devolution were in the spotlight, with the collapse of traditional industries such as shipbuilding on the Clyde, and the associated poverty, mirrored by vast wealth promised from North Sea oil in Scottish waters.
The script, screenplay, direction, film stock, lighting, photography, sound recording and editing of Just Another Saturday combine to give an understated, real-life appearance; making the emotional impact of picture and dialogue all the more intense. The use of brief close-ups of very human details add hugely to the emotional effect; faces in the crowds tell, evocatively, of Scotland’s pride and sadness. Outdoor shots especially show powerful visual imagery. The Duncan Street violence is that much more disturbing because much of it is hidden from view.
The play is about beliefs and innocence, and the desire to escape. As Lizzie tells John, “at least you believe in something”; Dan despises all “the organisations” on both sides of the Glasgow Protestant/Catholic divide: he ridicules what he sees their moral hypocrisies, like “suffering for the cause”. There is pointed irony in the fact that the only injury John incurs over the whole day is from a confused drunk. Dan points out the divisions that the organisations cause and the many contradictions from Scottish history that make their positions absurd. His quiet socialist conviction is delivered with great pathos.
Director John Mackenzie was flabbergasted at McDougall’s raw talent, and claims the finished film barely contained a single change from the original draft of the script. However the Glasgow police blocked filming on a drama they feared would cause “bloodshed on the streets in the making and in the showing.”
There wasn’t bloodshed, but considerable outrage that McDougall had highlighted so many of Scotland’s ills. McDougall was undeterred by the controversy, going on to write: The Elephant’s Graveyard (1976), with Jon Morrison and Billy Connolly; Just A Boys’ Game (1979), with Frankie Miller, Ken Hutchison, Gregor Fisher and Hector Nicol; A Sense of Freedom, the story of Scotland’s notorious gangster, Jimmy Boyle: Shoot for the Sun (1986) with Jimmy Nail, and told the dark story of heroin dealers in Edinburgh; Down Where the Buffalo Go saw Harvey Keitel as US Marine stationed at Holy Loch naval base, and the slow disintegration of his life; and Down Among the Big Boys the story of a bank heist with Billy Connolly.
These days, McDougall’s work is rarely seen on TV, as those now in charge of drama commissioning are but mere “civil servants”, more interested in focus groups, audience figures and mediocrity, than genuine talent. It’s a shame, for McDougall is the best and strongest voice to have come out of TV over the past few decades.
McDougal’s Just a Boys Game is an equal to Martin Scorsese’s Mean Streets, and contains some of the finest performances put into a TV film - watch out for comedian, Hector Nicol’s sly performance as the elderly hard man, whose respect Miller wants to earn, as well as brooding Ken Hutchison (from Straw Dogs) as Dancer and a young Gregor Fisher (who later starred as Rab C. Nesbitt) as Tanza, and Katherine Stark as Jane. It is an brilliant, brutal and unforgettable film.
The astounding Just a Boys Game (Play for Today, tx. 8/11/1979), was another ‘play in a day’, pursuing hard man Jake McQuillan, whose life of alcohol, violence and emotional impotence is threatened by the arrival of a younger, razor-wielding thug. Jake’s casual ‘boys’ games’ ultimately result in the death of his only friend.
Featuring some of the strongest violence the BBC had ever dared broadcast, it was stunningly photographed by Elmer Cossey and featured McDougall’s most crackling dialogue and richest characterisations, all brilliantly evoked by a cast headed by blues singer Frankie Miller in a performance that melts the camera in its intensity.
Miller sadly suffered a brain hemorrhage in New York in 1994, while working on new material for a band with Joe Walsh of The Eagles. Miller spent five months in a coma, after which he went through rehabilitation. In 2006, Frankie released his first new material in almost twenty years, Long Way Home.
The rest of McDougall’s ‘Just A Boys’ game’ plus ‘Just Another Saturday’, after the jump…
This reminds of the story in Clay Shirky’s Here Comes Everybody, when a woman called Ivana left her cell phone in a taxi. Thinking it lost for good, Ivana was surprised when a friend, Evan discovered the girl who had found the phone was using it as her own. They contacted the girl and asked her to return it. But the girl told them to go to hell. So Evan started a webpage called StolenSideKick, and blogged about the phone and the girls actions. As Shirky pointed out in his book:
“Everyone who has ever lost something feels a diffuse sense of anger at whoever found and kept it.”
And this “diffuse sense of anger” makes people behave in different ways.
When Joshua Kaufman had his MacBook stolen, he responded by taking direct action to get it back. He set up a tumblr page This Guy Has My MacBook and started posting photos from a hidden device contained in his Mac. It takes pictures of the person who allegedly has it:
On March 21, 2011, my MacBook was stolen from my apartment in Oakland, CA. I reported the crime to the police and even told them where it was, but they can’t help me due to lack of resources. I’m currently in the process of contacting the mayor’s office. Meanwhile, I’m using the awesome app, Hidden, to capture these photos of this guy who has my MacBook.
Check Joshua’s site, This Guy Has My MacBook, here.
Almost 14 years after his death, William S Burroughs is on trial for corrupting Turkish morality. The Istanbul Prosecutor’s Office has opened an investigation into Burroughs’ novel The Soft Machine, which was recently translated and published by Sel Publishing House in January. Tukey’s English Hurriyet Daily News and Economic Review reports:
The court referred to a report written by the Prime Ministry’s Council for Protecting Minors from Explicit Publications that accused the novel, The Soft Machine, of “incompliance with moral norms” and “hurting people’s moral feelings.” Sel Publishing issued a press release that included parts of their testimony in the court.
“It is impossible to understand the insistence in sending books written and published for adults to councils that specialize in minors. If we consider things from this perspective, then dozens of such reports could be written about TV channels, newscasts and thousands of books,” read the testimony given by the publishing house.
The testimony also argued that the Prime Ministry’s council had no credentials in literature, aesthetics or translation, thus causing what the representatives of the publishing house called a “freakish” decision by the council.
The council also accused the novel of “lacking unity in its subject matter,” “incompliance with narrative unity,” for “using slang and colloquial terms” and “the application of a fragmented narrative style,” while claiming that Burroughs’s book contained unrealistic interpretations that were neither personal nor objective by giving examples from the lifestyles of historical and mythological figures. None of the above, argued the publishing house, constitutes a criminal act.
The council went further and said, “The book does not constitute a literary piece of work in its current condition,” adding it would add nothing new to the reader’s reservoir of knowledge, and argued the book developed “attitudes that were permissive to crime by concentrating on the banal, vulgar and weak attributes of humanity.”
The representatives of the publishing house responded to these charges. “Just as no writer is under any special obligation to highlight humanity’s fair attributes under every circumstance, the measure of whether a book has any literary value or not, and the judge of what the book may add to the reader’s reservoir of knowledge, is not an official state institution, but the reader himself,” they said.
“Once again, societies comprised of modern, creative and inquisitive individuals are formed by reading and being exposed to literary texts and works of art that can be considered as the most extreme examples of their kind,” further asserted the defendants’ statement.
The testimony also invited members of the council to conduct “a simple Internet research” about the writer, and learn about the fact that Burroughs was one of the pioneers the “Beat Generation” that rebelled against the stagnant morality of the middle class in post-World War II America. The testimony also drew attention to the fact that the “cut-up” technique used in the book was once heralded as a great novelty among literary circles.
“Through this technique, Burroughs runs counter, not just to entrenched attitudes in people’s lifestyles but also in contradiction to [older] literary techniques. That being the case and since the aim of the book itself is to push boundaries, it is clearly absurd to search for criminal elements in the book by suggesting that the book does not conform with social norms,” further stated the press release.
“Moreover, it is also meaningless to expect William S. Burroughs, who was not raised in accordance with the National Education Law, or as an individual who ‘identifies with the national, moral, humanitarian, material and spiritual cultural values of Turkish society, and who always tries to exalt his family, country and nation,’ to have produced a text within this framework,” read the testimony. “It is clear and obvious that this case carries no weight nor any respectability outside of the borders of our country.”
“We demand an end to investigations that constrain our activities and the prosecution of books for any reason whatsoever,” concluded the statement.
Bonus: William Burroughs reads ‘Junky’ (abridged version)
Backporch Tapes have just uploaded these two incredible recordings purported to be of Roman Polanski’s lie detector interview with the LAPD August 16 1969, just one week after the murder of his wife, after Sharon Tate.
The overall sound quality is poor, and Polanski sounds confused and upset, but certain questions and answers can be heard clearly - Polanski’s psychological state, his medication, his knowledge of the Polish army, and on the second clip, Polanski’s thoughts about the killer’s motives, and his suggestion of looking for something much more “far out.”
Lie Detector Test: LAPD interview Roman Polanski August 16 1969
Lie Detector Test: LAPD interview Roman Polanski August 16 1969, in which he discusses possible motive.
Spanish TV aired this amazing footage of what appears to be an orange sock puppet foiling a robbery. The puppet’s identity is a mystery. After assaulting the would be thief with assorted grocery items and engaging the startled thug in hand to hand combat, the puppet left the scene of the crime. His/her job was done. Police are seeking the puppets identity. The store owner has offered a reward. This kind of heroism and humility you don’t see every day.
The illustration above is not a rendering of the actual puppet. As you can see in the video, the puppet crimestopper has arms and knows how to use them.
After its release in 1971, Stanley Kubrick’s film version of A Clockwork Orange was linked to a series of violent crimes. The first was the murder of a tramp by a 16-year-old youth; the second involved another 16-year-old who, dressed in the film’s distinctive gang uniform, stabbed a younger boy; the third was the brutal and horrific gang rape of a Dutch girl by a group of youths from Lancashire, as they sang “Singin’ in the Rain”.
Sentencing the 16-year-old for assaulting a child, a judge described the attack part of a “horrible trend” prompted by “this wretched film”.
Following death threats and warnings from the police over revenge attacks, Kubrick asked Warner Brothers to pull the film from its UK release.
But banning the film didn’t have the desired effect, for when the film was eventually released in the UK on DVD, it led to another spate of copycat crimes, the most notorious of which, was the murder of a bar manager by a “Clockwork Orange gang”.
Whether movies can make people commit crime, is a moot point, but as director of American Psycho, Mary Herron points out in the documnetary, Still Tickin´: The Return of A Clockwork Orange, Kubrick’s film is a “dangerous work of art,” one that some have suggested seduce “viewers into its violent world and implicates them in its protagonist’s crimes.”
Produced by Channel 4, Still Tickin´: The Return of A Clockwork Orange examines the controversy over Kubrick’s iconic film, explaining the film’s “demonic level of attention,” and its influence on culture, politics and society, which led to the director’s self-imposed ban.