) with a beautiful blonde woman (Katya Wyeth) who wore only black silk stockings.
They were frolicking in slow-motion on piles of white snow, while two rows of genteel-looking, Victorian Londoners (ladies and gentlemen), the men dressed in top hats and the women carrying parasols, looked on and sedately applauded toward them.
That was all that was left to him, to feed his violent and sexual personality.
In a second demonstration to the tune of Music for the Funeral of Queen Mary, he was tempted before a stage actress (Virginia Wetherell) - a half-nude woman wearing only bikini panties.
By the film's conclusion, Alex, now supposedly "cured," returned to his former self.
The story continued with playboyish Jonathan's later difficult relationship to voluptuous, big-breasted TV model Bobbie (Oscar-nominated Ann-Margret) who he first felt was his sexual salvation - and she soon became his live-in mistress: ("I took one look at the tits on her, and I knew I'd never have trouble again"). The film then followed Jonathan into his divorced, burnt-out life in the late 60s and 70s, when he looked back and called ex-wife Bobbie "Queen of the Ballbusters." Meanwhile, Sandy was dating 18 year-old free-love advocate and hippie chick Jennifer (Carol Kane) in the late 60s.
It takes a true woman to understand that the purest form of love is to love a man who denies himself to her - a man who inspires worship, because he has no need for any woman, because he has himself. Feminists were outraged with some of the misogynistic images - such as the obscene female poses of the supine furniture in the Korova bar, the prolonged rape of a big-breasted 'devotchka' (Shirley Jaffe) on an empty opera house stage to the tune of Rossini’s The Thieving Magpie, a gigantic penis sculpture being used as a murder weapon on the Cat Lady, a sped-up orgy (within a threesome composed of two females and a male) performed to the tune of the William Tell Overture, and a view of the protagonist's snake gliding toward a woman's vagina.