Kubrick’s genius comes from the way he plays and manipulates with all the small things. To some filmmakers, sound is thought to be irrelevant for cinema is all about the shot and all about the illusion of movement, because all a camera is device that takes pictures and when put under a light bulb moving at 24 frames per second we get the illusion that people are moving. Films that did not have sound such as the early works of Buster Keaton and Chaplin had their own genius for the main effect would be visual in acting, or in movement.
The beauty of sound in A Clockwork Orange is the underlying irony riding on it’s back like a jockey on a horse. I’m going to run with that metaphor. Just as a jockey is small and to some meaningless (I mean who was the guy that rode Sea Biscuit?), the jockey is important none-the-less. Sound is the same way, one does not pay attention to it as much as the visual content presented but it influences the out come of the film. Sound can make or break a film, and so could an unorthodox jockey, imagine Dim from the movie as a jockey he would literally break the horse not because of his stupidity or his bulldog looking appearance but mainly because he is a husky lad (sound could also over power). Kubrick is the horse of perfection; he has done the training and is ready for the race. He has perfected the details,(the race has begun) he has made Beethoven’s work a motif through out, (Kubrick is coming from behind) he has made the sound psychologically unsettling, (Kubrick takes the lead) he has got me in the sick head of Alex, and back out, and back in (I guess that is the old in and out). But more than all he worked with the details such as the doorbell that ring’s in the writers home, is no other than Beethoven’s 5th Symphony. ( Kubrick wins! “Hey I won, where’s my Oscar?”)