影片以第一人稱的形式講述了一個名叫阿歷剋斯的少年犯的故事。在不遠的未來社會裏，幾個充滿暴力傾嚮的少年在阿歷剋斯率領下到處尋歡作樂，在痛打一流浪漢後，他們找到一群欲強姦一少女的流氓，為報私怨大打出手。一場惡戰後，阿歷剋斯和同夥駕車飛馳，在馬路上肆意地逆行。郊外的一處寓所，阿歷剋斯以發生交通事故為由嚮這裏的戶主作傢亞歷山大夫婦藉用電話，當門打開時，他們就戴着面具衝入屋內，毆打作傢，輪姦作傢的妻子。在瘋狂的發泄完暴力與性欲後，他們纔回傢休息。
第二天，阿歷剋斯痛打對自己不忠的手下，從而確立了自己老大的地位。晚上他們就又一起準備以相同的方法進入富婆“貓夫人”傢中，不料“貓夫人”早有防範，不但沒有開門，還在阿歷剋斯進入前給警察通了電話。阿歷剋斯由窗戶進入“貓夫人”的寢室，兩人展開搏鬥，阿歷剋斯失手將“貓夫人”打死。當他慌忙逃出貓夫人的公寓時，卻被手下報復而當場擊昏，最後被趕來的警察逮捕。
阿力剋斯以殺人罪被判入獄14年，為了縮短刑期，阿歷剋斯自告奮勇，願意把自己當作小白鼠一樣送去為一項叫做“厭惡療法”的充當實驗品。療法很簡單：在註射某種藥物後，醫生們就讓阿歷剋斯目不轉睛地觀看各種令人發指的色情、暴力影片，以使其對色情暴力在生理上産生條件反射式的惡心。但最令阿歷剋斯無法忍受的是，放映納粹暴行的影片時，竟然同時播放着他最喜愛的音樂——貝多芬《第九交響麯》！這樣，阿歷剋斯在實驗結束後成為了一個打不還手、駡不還口、無法接近女色而且絶對不會危害社會的"新人"。 出獄後回到傢的阿歷剋斯發現傢裏已經沒有自己的位置，禍不單行，流浪街頭，又遭到曾經遭到自己痛打的老流浪漢的報復，正在這時，此時兩個警察前來解圍，他們竟是原來的手下！這兩個手下為報前仇，把阿歷剋斯帶到郊外毒打折磨。最後，幾乎奄奄一息的阿歷剋斯爬到一戶人傢前，他萬萬沒想到這竟是他從前的受害者作傢亞歷山大的住所。亞歷山大利用阿歷剋斯報復，意圖推翻現任政府。
The title is taken from an old Cockney expression, "as queer as a clockwork orange"¹, and alludes to the prevention of the main character's exercise of his free will through the use of a classical conditioning technique. With this technique, the subject’s emotional responses to violence are systematically paired with a negative stimulation in the form of nausea caused by an emetic medicine administered just before the presentation of films depicting "ultra-violent" situations. Written from the perspective of a seemingly biased and unapologetic protagonist, the novel also contains an experiment in language: Burgess creates a new speech that is the teenage slang of the not-too-distant future.
The novel has been adapted for cinema in a controversial movie by Stanley Kubrick, and also by Andy Warhol; adaptations have also been made for television, radio, and the stage. As well as inspiring a concept album, the novel and films are referred to in, and have inspired, a number of songs and bands.
第二天，阿歷剋斯痛打對自己不忠的手下，從而確立了自己老大的地位。晚上他們就又一起準備以相同的方法進入富婆“貓夫人”傢中，不料“貓夫人”早有防範，不但沒有開門，還在阿歷剋斯進入前給警察通了電話。阿歷剋斯由窗戶進入“貓夫人”的寢室，兩人展開搏鬥，阿歷剋斯失手將“貓夫人”打死。當他慌忙逃出貓夫人的公寓時，卻被手下報復而當場擊昏，最後被趕來的警察逮捕。
阿力剋斯以殺人罪被判入獄14年，為了縮短刑期，阿歷剋斯自告奮勇，願意把自己當作小白鼠一樣送去為一項叫做“厭惡療法”的充當實驗品。療法很簡單：在註射某種藥物後，醫生們就讓阿歷剋斯目不轉睛地觀看各種令人發指的色情、暴力影片，以使其對色情暴力在生理上産生條件反射式的惡心。但最令阿歷剋斯無法忍受的是，放映納粹暴行的影片時，竟然同時播放着他最喜愛的音樂——貝多芬《第九交響麯》！這樣，阿歷剋斯在實驗結束後成為了一個打不還手、駡不還口、無法接近女色而且絶對不會危害社會的"新人"。 出獄後回到傢的阿歷剋斯發現傢裏已經沒有自己的位置，禍不單行，流浪街頭，又遭到曾經遭到自己痛打的老流浪漢的報復，正在這時，此時兩個警察前來解圍，他們竟是原來的手下！這兩個手下為報前仇，把阿歷剋斯帶到郊外毒打折磨。最後，幾乎奄奄一息的阿歷剋斯爬到一戶人傢前，他萬萬沒想到這竟是他從前的受害者作傢亞歷山大的住所。亞歷山大利用阿歷剋斯報復，意圖推翻現任政府。
The title is taken from an old Cockney expression, "as queer as a clockwork orange"¹, and alludes to the prevention of the main character's exercise of his free will through the use of a classical conditioning technique. With this technique, the subject’s emotional responses to violence are systematically paired with a negative stimulation in the form of nausea caused by an emetic medicine administered just before the presentation of films depicting "ultra-violent" situations. Written from the perspective of a seemingly biased and unapologetic protagonist, the novel also contains an experiment in language: Burgess creates a new speech that is the teenage slang of the not-too-distant future.
The novel has been adapted for cinema in a controversial movie by Stanley Kubrick, and also by Andy Warhol; adaptations have also been made for television, radio, and the stage. As well as inspiring a concept album, the novel and films are referred to in, and have inspired, a number of songs and bands.