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One of Kubrick's most
meticulous and least appreciated films, 'Barry Lyndon' is a wonderful recreation
of an 18th century world. Photographed in a painterly style, utilizing long
zooms and natural lighting,
languorous pacing and a music score of traditional and baroque music, the film
is as much a mesmerizing
and realistic view of the past, as '2001' was of the future.
A tale of a poor, opportunistic young man climbing the social
ladder in a class-conscious society only to
discover, with tragic results that those class barriers are not easily pregnable
nor forgiving. Although an
18th century tale, a tale of the futility of class consciousness is still as
relevant today and poignantly
summarized in the film's Epilogue ("All are Equal Now").
The cinematography by John Alcott is exquisite, convincingly
invoking a tranquil, bygone era of the
British countryside. Filmed almost entirely in long and medium shots, slow
reverse zooms and combined
with long takes with minimal editing, wonderfully recreate the pace of 18th
century life. Kubrick went so far
as to shoot the entire film with only natural light and candlelit interiors, an
undertaking that payed off
beautifully. Particular mention must also go to Leonard Rosenman's Oscar-winning
music score. A mood
setting adaption featuring baroque and traditional Irish tunes, with good use of
Handel's 'Sarabande' as
the opening and closing theme.
It is also, along with Dr.
Strangelove, one of Kubrick's most humorous films particularly the film's first
half. Robbed at gunpoint by a particularly polite and courteous highwayman and
Barry's unwillingness to
find his cousin's ribbon, hidden in her bodice, are memorable comic moments.
Incidents of fate and irony are utilized to comic effect although the events
themselves are not humorous,
quite in contrast to the more downbeat and tragic second act.
As with all Kubrick films, the performances here are meticulous and precise with
Kubrick making good
use of his repertory of character actors (Patrick Magee, Leonard Rossiter,
Philip Stone) with memorable
turns by Marie Kean (Barry's mother), Hardy Kruger (Captain Potzdorf) and Leon
Vitali (Lord Bullingdon).
There has been some disappointment expressed over the casting of Ryan O'Neal as
Barry, an opinion I
do not agree with.
Kubrick often cast his films based on an actor's personality, rather than their
ability to play varied roles.
Think of Nicholson, Sellers, Duvall, Ermey and others, all portraying variations
of their own persona.
The
character of Barry Lyndon is somewhat similar to a Rorschach ink blot (naive?
calculated? opportunist?
victim? pawn?). Who better to portray the blank-page character of Barry Lyndon
than Ryan O'Neal, a
likeable if somewhat bland actor. O'Neal is perfect in the role and I find it
hard to imagine someone else
as Barry Lyndon.
The film was lukewarmly received on its
December 1975 premiere, however it did find itself on many
Top 10 lists and was nominated for 7 Academy Awards including Best Picture and
Best Director. The
film has never quite been given the adoration that other Kubrick films receive,
no doubt due to the
subject matter, time period and length of the film. Unfortunate, as this is one
of Kubrick's very best.
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