Directed by:
Stanley KubrickScreenplay:
Stanley KubrickCinematography:
John AlcottComposer:
Leonard RosenmanCast:
Ryan O'Neal, Marisa Berenson, Patrick Magee, Hardy Krüger, Steven Berkoff, Diana Körner, Murray Melvin, André Morell, Philip Stone, Peter Cellier, Ferdy Mayne (more)VOD (3)
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Stanley Kubrick writes and directs this period drama based on the novel by William Makepeace Thackeray. Redmond Barry (Ryan O'Neal) is an Irish country boy who falls in love with well-to-do local girl Nora Brady (Gay Hamilton) and is subsequently tricked by her family into leaving town. Disillusioned with love, the broken-hearted youngster then embarks on an adventure which sees him serve in the Seven Years War, earn a living as a professional gambler, and eventually move into the higher ranks of society when he meets and marries the beautiful Lady Lyndon (Marisa Berenson). However, despite the luck which has brought him such riches, it is this final move, the cynical choice to marry for social advancement rather than love, which brings about Barry's downfall. (Warner Bros. Home Entertainment)
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Reviews (10)
A slowly unfolding, utterly unpredictable, and almost intimate story of one man who greatly influenced the fates of many people. Stanley Kubrick presents his most magnificent work cautiously, perhaps somewhat unevenly, but every scene, even the smallest, has its justification in the final outcome. What's more, he chose the perfect actor, Ryan O'Neal, for the main role, who showcases his acting skills the most in gradually escalating scenes of a card game or an interrupted concert. The narrator, however, remains a flaw, for while he fills in the gaps nicely, his guiding speeches hinder the tension of the events that unfold.
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Even though one might think this would be incredibly dull, something Kubrick couldn't even accidentally direct, the Master once again proves that even this is a film that captivates. Even though it's not action-packed, you'll still be tense, whether because it's entertaining, dark, intimate, or sometimes just sexy, in its own way. Those three hours gonna fly by fast.
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The third time’s the charm. While it's a nice chapter in the history of film on the subject of lighting, and I'd love to read William Makepeace Thackeray's novel someday, if the scene of finding the bow in the cleavage doesn't work, there's something wrong with the film. That something is called Kubrick. Hooray! And we clap and we high-five. While we do not enjoy the realities of the 18th century, for which of course we have no understanding, we do enjoy the compositions and the anti-hero, and like monkeys, we adopt the lessons of the divine auteur who is so familiar to us.
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Sometimes you're down, sometimes you're up. This saying perfectly captures the life adventures of Redmond Barry, who, starting as a poor Irish peasant, manages to ascend to the position of a noble title owner and a welcomed visitor in the households of the highest social circles. However, the means he chooses for his ascent are not exactly kosher, and hence the change of name and identity comes in handy. It is often said that you reap what you sow. Stanley Kubrick was known for his precision bordering on obsession and megalomania. He meticulously cared for every detail, had costumes and accessories made according to historical sketches, and selected locations carefully, and from the perspective of a fan of the historical genre, it is hard to find fault with him. In the case of Barry Lyndon, perhaps more so than in other Kubrick films, his ability to create visually stunning images with perfect color execution and composition shines. The panoramic shots of landscapes, estates, army camps, and battles are a feast for the eyes, just as the viewer's ears are pleased by the precise selection of music from different genres that characterizes various social environments and creates the mood. Barry Lyndon signifies the same for capturing the atmosphere of the second half of the 18th century as Amadeus does for the Rococo period and Marketa Lazarová does for the early Middle Ages. Overall impression: 95%.
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It will be all praise, but what else can be said about a film that, despite its three-hour runtime, I devoured like a raspberry? The composition of the images, the thoughtful use of colour and contrast, the perfect choice of interiors and exteriors, the magnificent cinematography, the well-chosen period music; even the costume designers did their best. All this for the pleasure of the eye, which grazes heartily for three hours. And on top of that, a slightly sarcastic story that draws the viewer in and doesn't let go until the closing credits. There’s no risk of boredom... After Dr Strangelove, my second favourite Kubrick film.
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Gallery (203)
Photo © Warner Bros.
![Barry Lyndon - Photos](http://image.pmgstatic.com/cache/resized/w663/files/images/film/photos/162/120/162120611_317421.jpg)
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