Barry Lyndon (1975)

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  October 27, 2011

  fb1664868775

  One of the greatest period pieces, this is Kubrick's most underrated

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  October 11, 2011

  fb100000257973100

  Hot off the accomplishments to the world of cinema he earned with 2001: A Space Odyssey and A Clockwork Orange, Stanley Kubrick was at the height of his power, fame, and glory. He became well respected, feared, and looked up to. So, when the news that he was to make another film ... read morecame into the headlights of film circles, you can just imagine everyoneâ(TM)s reaction to what this genius was going to come up with next. Well, the next film he was going to make stunned people in 1975. Not because it was as groundbreaking as 2001 or as controversial as Clockwork, but because it was completely different in terms of content, genre, and the little details that make up with film. When audiences saw this film, many felt bored, like they were wasting their time, and isolated due to them not expecting this. Barry Lyndon was not well received when it was released, many little money, and above all else, only had the accomplishments of winning four Academy Awards and being nominated for three others. But, like with every film Kubrick had made, sooner or later people revisited Barry Lyndon and finally understood why Kubrick made this film and how important this film is to cinema. In short, people realized that this is a masterpiece.
  
  Now, this has been one of the most difficult of Kubrick films for me to find due to so many people overlook this film. I mean, watching it, I can see how the general audience would overlook this film after he made Clockwork and skip to his next film The Shining. But, watching this film, I must say that this film is beyond underrated. This is a great film. There is no question about that. From the camera techniques that Kubrick created (cameras that can film with the only lighting being candles) to the lavish sets and costumes, to even him making Ryan Oâ(TM)Neal a great actor is completely mind numbing. But at the same time refreshing to sit through if you can handle a three hour epic.
  
  Stanley Kubrick, as any of you who have read my reviews will know, is my second favorite director of all time, and this has to be the one film I would recommend anyone new to Kubrick to see if they wanted to understand why I praise and adore this film maker so much. I think the one scene that certifies this film as being great would have to be the story telling and how Kubrick isolates his audience. When watching the film, you have a narrator that is filling in some details, but this time, the narrator tells you everything that will happen. Kubrick does not leave any surprises for anyone in this film. Before this film reaches itâ(TM)s climax, you already know the outcome of the characters, you already know how this film will play out, and you know that there will be no true happy ending for anyone.
  
  So, now you are asking yourself: if he gives away all of the details to the story, why is it that this film should even be considered viewing material? Well, two reasons. The first is the sets and costumes. The second is the way this film is told.
  
  During the Academy Awards, this film won for best sets and best costumes. This film is a costume epic and my God, Kubrick makes that phrase eat itself. I mean, the outfits are fantastic. I personally can not believe that he blew a good chunk of money to make these lavish outfits and props that really create a feel for how the 1800â(TM)s would have been like. I am not one to usually praise the costumes, but this film⦠you just canâ(TM)t deny it. Now, the sets are something else all together. Kubrick was known for being a person who was obsessed with still photography and would pay beyond close attention to detail (to even such an extent as freaking out if a film being shown was not up to his standards in terms of detail), and with this film, if you are a person who loves detail, then Kubrick is your best friend. It is known that Kubrick did work for the magazine Look! when he was younger, and with this film, he perfects his keen eye. Might as well also add the precise movements of the camera, how he manages to make each shot look like it took a complex mathematical equation to figure out. Everything from making the actors step in time with the background score to how the camera has to go from one place to the other, it is magnificent.
  
  Now for how the story is told. As I have mentioned, the narration for this film is very unique in that it isolates and alienates the audience by telling us every plot twits before it happens. Now, one has to ask why Kubrick really does this. The answer is that it helps with fleshing out the character of Barry Lyndon/ Raymond Barry (portrayed by Ryan Oâ(TM)Neal). By use knowing everything ahead of time, we start to truly understand this poor, out of luck Irish manâ(TM)s motives as he tries to climb his way up in society after he won a duel that result in killing his cousinâ(TM)s new husband. Might as well also add that this naration helps with the acting of Ryan Oâ(TM)Neal. Now, he is decent enough with a few moments of cinema gold thrown in. But, without some explanation due to him having a blank face half of the time, it is hard to take him serious as an actor. But, with everything in one, Oâ(TM)Neal does give one hell of a preformance.
  
  A film critic that I have great admiration for said, and I quote: Barry Lyndon isn't a great success, and it's not a great entertainment, but it's a great example of directorial vision: Kubrick saying he's going to make this material function as an illustration of the way he sees the world. Well, I actually disagree with the first part while admitting that the rest is true. In my eyes, Barry Lyndon is great entertainment and a great success in terms of story telling. A wonderful film.

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  August 2, 2011

  TheDudeLebowski65

  Stanley Kubrick has long been a master of cinema way before the release of Barry Lyndon. He broke new ground in the cinematic medium with 2001, a dazzling space epic that has some of the greatest special effects put to film. His techniques and dedication to his craft were unmat... read moreched. With Barry Lyndon, he crafted yet another stunning picture that broke new ground in the way it was filmed. Barry Lyndon is a very long film, but is a broad film with an epic story. I've never seen a Ryan O'Neal film, but I have to say his performance in Barry Lyndon is terrific. Barry Lyndon is a phenomenal film from Kubrick, who has never made a single bad film. I'm glad I finally got around in seeing this film, because it's truly a unique piece of cinema worth watching. I love how Kubrick used special lenses to film in natural, and it makes the film look more realistic and astounding overall. Barry Lyndon is an expertly crafted period piece that will definitely appeal to Kubrick fans. If you haven't seen this film, then give it a view as soon as you can. What I love about the film is the constant conflict that the lead character endures throughout the film. The acting, and directing are brilliant and this is a film that shouldn't be overlooked. Stanley Kubrick has long mastered many film genres, and he's done a phenomenal job at capturing the essence and feel of a period piece set in the 18th century on film. The result is a classic film with a great story.

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  July 11, 2011

  stevenecarrier

  "Barry Lyndon" is a period piece that stands with films like Sofia Coppola's "Marie Antoinette." It's a film that, while taking place in an ancient time, is delivered in such a way that it feels utterly contemporary and fresh. The way Kubrick subtracts emotion and displays charac... read moreter observation is clearly influenced by two other 70s greats, Terrence Malick (voice over) and Robert Altman (zoom lens). "Barry Lyndon," the story of opportunism, social climbing and emotional treachery, is also noteworthy for it's lavish, pioneering cinematography and detailed, authentic period design. The performances too are worthwhile with Marisa Berenson being the standout. "Barry Lyndon" is maybe Kubrick's most rewarding film on it's initial viewing (aside from "Spartacus") but just beware that it's over 3 hour runtime is grueling.

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  July 1, 2011

  cosmo313

  While none of Kubrick's films are really super accessible, this one, with an indulgent runtime of 184 minutes and a pace that is pretty slow (but nothing on the level of a snail or molasses) is probably his least accessible. It's not a perfect film in the well-rounded sense, and ... read moreI was tempted to give it "the full 5", which I might do in the future upon further reflection or another viewing.
  
  Despite a few flaws (some of this could have been somewhat trimmed or sped up, let's be honest), this is a very gorgeous and very captivating film. There's not much in terms of heavy plot, and the characters aren't completely sympathetic, but the film isn't pointless.
  
  The broad story here concerns an Irish rogue who wishes to transcend his lower social class for a place in the English aristocracy. He goes throug hseveral adventures and colorful times to get there, but, as fate would have it, his lot in life is not meant to be what he wants it to be. Essentially, this is a film about loss, and bad things getting worse. It sounds depressing, but it doesn't ever come across as anything to contemplate suicide over.
  
  What the film lacks in terms of story and characters, it makes up for in its technical brilliance. Many 18th Centyury paintings served as frames of reference for the costumes, sets, lighting, framing, and overall look and color of things. The result is a film that, in every single frame, really does resemble a painting from the era it is capturing. This is just a gorgeous film to stare at. Also, the camera moves and cinematography are equally stunning. Contrary to popular belief, the film wasn't just lit using period appropriate candles and natural lighting. There's a bit of artificial light, but it is subtle. Too bad too, because I liked the idea of making a film that tries to keep things super accurate in regards to stuff like this.
  
  Kubrick loved to use classical music in his films, and this was probably the most appropriate film for such a thing giving the setting. Classical is not my favorite, but I do enjoy and appreciate it. I loved the way the music worked here, especially the various versions of "Sarabande".
  
  There are many different types of historical dramas out there, but none seem to be as sumptuous as this one. Yes, it is a bit long winded, and a tad boring at times, but I never found it to be too tedious to get through. The characters seem blah and emotionally distant, but that's kinda the point, so the performances are pretty good as a result. This is a film that, if you love art, history, or 18th Century Europe, you will definitely find something to enjoy, even if it happens to be just sitting and staring at the beautiful images on screen.

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  May 8, 2011

  fb100001048934982

  I'm sure many consider it a masterpiece, and that every frame is as beautiful as the last. But is a story about a young 18th century Irishman's adventures through life worth 3 hours of my life? I believe not. Im just not that kind of movie geek. Sue me.

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  January 3, 2011

  ajv2688

  A very good drama/adventure period piece which casts O'Neal perfectly. I enjoyed it, but it has a couple of slow/boring scenes too. Overall it's good.

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  November 19, 2010

  gokhale1

  Stanley Kubrick's epic and ambitious period drama, "Barry Lyndon" is loosely based on William Makepeace Thackeray's novel, "The Luck of Barry Lyndon".
  
  The first part of the film begins with the title card "I. By What Means Redmond Barry Acquired the Style and Title of Barry Ly... read morendon.".
  We are then shown a brief scene of a duel, with a voice-over narration by Michael Hordern, involving Redmond Barry's father, which is seen from far away, yet gives the viewer a glimpse of the beautiful "painting in motion", that is "Barry Lyndon".
  
  
  The movie tells the story of a young Irishman by the name of Redmond Barry (Ryan O'Neal) and his adventures which begin when he falls in love with his cousin Nora (Gay Hamilton). Although she initially flirts with him, she eventually decides to marry an English Captain John Quinn (Leonard Rossiter) who is a rich man and marrying him would relieve her family of their financial difficulties. Redmond Barry, who lives a modest existence with his mother, is of course,
  dumped instantly. A furious Redmond challenges Quinn to a gun duel which takes Quinn's life and Barry is forced to flee.
  
  And so it begins, his strange, sometimes fortunate, sometimes luckless odyssey through Europe. He gets involved with the English army, the Prussian army, a professional gambler, and finally the woman he would spend the most important phase of his life with: Lady Lyndon (Marisa Berenson).
  
  
  The second half of the film "II. Containing an Account of the Misfortunes and Disasters Which Befell Barry Lyndon" deals with the more tragic events in Barry's life. It is in this phase that Barry marries Lady Lyndon and acquires the title of "Barry Lyndon", and becomes a wealthy man. But mere wealth is not enough to bring happiness and the rest of the story details the eventual downfall of Barry.
  
  Stanley Kubrick, the genius, tells the story of this rather complicated personality, Barry Lyndon, in an impeccable fashion. Devoid of any pretense, Kubrick fills this 3 hour long canvas with some rich story-telling, some fine characters, utmost attention to detail, and an uncanny depiction of the period that was, the 18th century!
  
  The choicest of locations have been chosen for the outdoor as well as indoor scenes which make you feel like you have travelled back in time to that period.
  
  The mannerisms of the people, their accents, their garish makeup, the dresses, right down to the kitchenware they used in those days, Kubrick has it all in place.
  
  Together with John Alcott, the cinematographer, Kubrick managed to achieve the tough task of using natural light and avoiding usage of artificial electric lighting wherever possible in the film! Alcott's technique makes some of the indoor scenes in the dark especially look breathtakingly beautiful. Special lenses were developed to film the scenes especially in the dark, with a lot of candlelight. As for the outdoor scenes, they are equally beautiful. Kubrick probably spent a lot of time looking for locations which Alcott would be able to beautifully capture in the full glory of their lively colours to make the scenes seem like an actual painting in motion, as mentioned earlier!
  
  The music complements the period in question beautifully! Kubrick, already a lover of classical music, got his chance to indulge heavily, considering he was making a period drama! So expect a lot of Wolfgang Amadeus Mozart, Johann Sebastian Bach, Franz Schubert and several others.
  
  In the acting department, Ryan O'Neal clearly excels and delivers a superlative performance as the roguish Irishman. He is simply fantastic in some especially difficult scenes.
  
  Meresa Berenson is great as the sad and lonely Lady Lyndon, although she doesn't get to speak much, only express through her eyes.
  
  Leon Vitali is superb as the Barry's stepson, Lord Bullingdon.
  
  Other notable performances are by Murray Melvin as Reverend Runt and Marie Kean as Barry's mother.
  
  Familiar faces in Kubrick films, Philip Stone (The Shining, A Clockwork Orange), Anthony Sharp (A Clockwork Orange), Leonard Rossiter (2001: A Space Odyssey) and Patrick Magee (A Clockwork Orange) appear briefly.
  
  Magee is especially great in the role of the very interesting, Chevalier de Balibari, the gambler.
  
  It is a known fact that "Barry Lyndon" didn't do well at the box office and it seriously amazes me how such a thing could be possible with this wonderful film. Sure, it gained some critical appreciation in later years, but an excellent product of such vast proportions definitely deserved much better.
  
  Do give this film its worth and watch it.
  
  Very highly recommended!

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  August 14, 2010

  matertenebraum

  Kubrick's "Barry Lyndon" project was initially a project about Napoleon Bonaparte. Simply titled "Napoleon", the film aimed to portray the life of a lowly man who had seemingly conquered his environment. Like an obsessive film director (guess who), Napoleon tamed his surroundings... read more, forcing the cosmos to bow to his own singular vision.
  
  Kubrick envisioned this film as being awash with intricate plans, strategies, military formations, and animated schematics. His Napoleon was a man who took control and waged war, not against the Spanish, Russians or Italians, but against an indeterministic, malevolent universe.
  
  But of course, like Johnny Clay in "The Killing", Napoleon does eventually fail. He suffers a series of military defeats which leads to him realising that, even without his obsessive micromanagement, all his battles would have achieved the same results. Variables far beyond his reach governed the final outcome.
  
  The Napoleon project failed to materialise for various financial reasons. Always the pragmatist, however, Kubrick then decided to make the complete thematic opposite of Napoleon.
  
  And so we have "Barry Lyndon". Unlike Napoleon, Barry doesn't scheme or try to force things into position. A man at the mercy of (or oblivious to) the cosmos, he does as told, taking fortunes and misfortunes as they occur.
  
  While Kubrick's "form as content" approach dictated that Napoleon be awash with intricate plans. . .plans in which a mere man seemingly thwarts nature (a largely Gnostic nature that is evil, malevolent and hostile), Barry Lyndon's "form as content" approach dictates that Kubrick's universe completely subvert Barry the man.
  
  And so we have a cosmic tragedy in which the very form of the film attempts to reduce man to nothingness. Kubrick's painterly canvas locks his actors into predetermined compositions, such that they appear to have no free-will, unable to break free. He portrays the universe (director) as the ultimate artist, its beautiful brush-strokes concealing its suffocating ugliness, life itself portrayed as being the artistic result of the universe's unmappable web of rules and formulae.
  
  Similarly, each event in the film is portrayed as being the direct result of some prior occurrence. The first scene highlights this continuous past/present relationship. Watch too how the clouds, trees and walls in the first shot "frame" Barry' father; man is a spec on the horizon, playing his ritualised games as the cosmic order engulfs him.
  
  Likewise, the character's are all bound by duty and rigid social roles. Their lives are ritualised, robotic, learnt and rehearsed. While "Dr Strangelove" and "2001" are swathed in birth and sex imagery, here Kubrick uses a semiotic fabric of chance. Every scene is awash with games of chance, duels, courtship, cards, gambling, luck etc, all of which bolster the notion of fate on Barry's life.
  
  Even the narrator subverts Barry's story. While the acting and visual compositions attempt to relegate Barry to the background, the narrator attempts to undermine his tale by negating all drama and tension. Why are you watching this man, he says? He is nobody. ("Though this encounter is not recorded in any history books, it was memorable enough for those who took part")
  
  Of course, visually, the film is unsurpassed. But this is a film in which beauty and cosmetics seduce us away from innate malevolence. This is a Schopenhaueren world in which finiteness is at war with the infiniteness of Time and Space. A world in which the present is constantly Becoming without Being, man a desire machine continually wishing without being satisfied, his efforts always thwarted, victory rarely won. Time, and the transitoriness of all things, are merely the form under which the will to live, has revealed to Time the futility of its efforts. In this world, no man is happy, always living in expectation of better things, always striving or demanding "satisfaction". A world in which man accepts the present as something that is only temporary and regards it only as a means to accomplish his aims. Beauty, sensuality, aesthetics, splendour and riches, are thus futile attempts to escape the inherent misery. Disillusion behind illusion.
  
  Thus, Kubrick places emphasis on the landscape and background to such an extent that his visual style subverts the character's on screen drama. Typical cinematic language is therefore REVERSED, such that we have a BACKGROUND which is constantly fighting to drown out Barry's FOREGROUND story. Expanding the metaphor further and we have a universe which gradually dwarfs and suffocates Barry's life.
  
  Kubrick's constant use of long zoom ins and zooms outs further highlights this theme. Here is man, ZOOM OUT. . .and here is man put in context. The irony is that whenever Barry attempts to assert himself over this natural law, he's punished terribly.
  
  The most severe punishment occurs during the duel at the end of the film. After a misfire, fate rolls in Barry's favour, giving him the opportunity to shoot his opponent down. But no. Refusing yet again to be a pawn, Barry altruistically chooses to exhibits free will at its most pure. He sacrifices himself. And of course he's punished dearly for this. Frozen in time, he's robbed of his leg, immobilised, pinned in place by history, no longer able to prowl his pretty canvas.
  
  And so the entire film is about the inevitability of loss. Barry loses his father in the first shot, his first love (cousin) in the next. He loses his home, his family, his surrogate father (the general), his second surrogate father (chevalier), his son, his wealth and finally his leg. With the loss of his leg, he is then literally frozen as "art". As historical image.
  
  Significantly, the only object in the film able to outpace Kubrick's zoom out is a coffin, which moves inexorably toward the moving camera. As death is constant, all history is about loss.

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  July 22, 2010

  ythelastman89

  Not only is it one of Stanley Kubrick?s best movies, it is the greatest period piece to exist on screen. It completely takes you back to another time without any faults at all. It?s slow paced, sure, but that?s how it was meant to be. That?s part of the reason it?s so effective, ... read moreyou spend time with the sets, music and costumes as much as you do the characters and story. Ryan O?Neal in my opinion is perfect as Barry, he says so much with his mannerisms and eyes. It?s a subtle and highly effective performance that goes completely unnoticed for the majority of viewers. The story is also very subtle in what it says about the bureaucracy and politics in Europe during the 1700s. It?s an incredible journey, a man goes from being nothing more than a peasant to a rich nobleman with little effort. The relationships are very real and intense, it?s the driving force of the entire movie. I feel that of all Stanley Kubrick?s work, this is given the least amount of appreciation.

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• Ryan O'Neal as Redmond Barry (Barry Lyndon)
• Marisa Berenson as Lady Lyndon
• Patrick Magee as The Chevalier
• Hardy Kruger as Capt. Potzdorf
• Gay Hamilton as Nora Brady
• Leonard Rossiter as Capt. Quin
• Godfrey Quigley as Capt. Grogan
• Arthur O'Sullivan as Highwayman
• Diana Koerner as German Girl

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• • Narrator: Barry had resolved never to see Nora again, but such resolutions, though they may be steadfastly held for a whole week, are abandoned in a few moments of despair.
• • Redmond Barry (Barry Lyndon): "but I am not sorry and shall not apologize, and I'll soon go to Dublin as to Hell."

• what movie is "Redmond Barry" a character from  Answer »
• This film from the 1970s did no use any artificial lighting for the night scenes. It won the Oscar for Best Cinematography.  Answer »
• Which of the following films has the longest running time?  Answer »
• Who directed the films Barry Lyndon, Spartacus and Eyes Wide Shut?  Answer »

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