A strong and compelling theme within the film is dominance; dominance within the characters, as well as the interior spaces throughout the film. The design of the space has the aesthetic sensibilities of mayhem.
Alex is the personification of dominance, like a warrior king, he takes what he wants in the spoils of victory, from the bodies of conquered women to the riches of modern nations and the status that goes along with it.
In the opening scene of the film, as the camera tracks backwards, the widening perspective shows with bizarre imagery what the theme of the first fifteen minutes is going to be. The tables throughout the Korova milk bar are female figures with their legs spread inviting “use” and the hair colors alternate in orange and purple, which are royal colors, associated with dominance in following scenes. The milk bar is overseen by two white clad bouncers that represent the enforced peace that Alex and his gang of ‘droogs’ are about to ignore.
The scene in the milk bar after the ‘surprise visit’ emphasizes the parallel forms of dominance. The music is the Purcell elegy normally dedicated to royalty and Alex’s bearing, language and superior taste establish him as a king. Alex seems to have the soul of a king but the imagination of an artist, for he is a creative killer, molester, menace.
The design of his room can quickly show the character of Alex. The purple rug with the orange and gold squares of his bed spread show royal colors again. These colors are offset by the deep blue of the bed sheets creating a balanced contrast in the space. His bedroom is an ironic Eden where violence is innocently natural and where a love for color, proportions and music is equally natural. Upon entering the room Alex shed his dominant social role by removing his false eyelash, stripping away his alterego and its trappings of status. On one side of the bed he puts his money into a drawer of watches and other stolen goods and from the other drawer pulls out a snake. He places this snake onto a branch with a picture of a woman spreading her legs to admit the snake, behind it. The painting reverses Alex’s role in the rape scene as he prepares to be ravished by a more powerful soul.
The saviors stand on the pale orange shelf, and the matching paleness of their orange hair and beards does not enliven their alabaster bodies. The use of three of these small statues suggests multiple religious efforts to tame the individual. In contrast to the simple, almost poetic lines of the art on the wall, Alex’s dreams while listening to Ludwig Van Beethoven are horrifically absurd, a delighted vampire, a bride falling through a trap door to be hung, huge falling rocks about to crush a caveman, completed with fiery explosions. The portrait hung above Alex has a nineteenth century look, in the mustached face and hairstyle, the head...