Barry Lyndon

Kubrick's adaptation of Thackeray's Barry Lyndon sharply divides fans of the great director's work, as the languid pace and seemingly interminable running time -- not to mention Ryan O'Neal's questionable performance in the title role -- are cherished by some and deplored by others. Little argument will be made against John Alcott's Academy Award-winning cinematography or Ken Adam's production design, however, and Kubrickian motifs are manifest in the gallery of characters' wide-ranging displays of cowardice, guile, duplicity, avarice, jealousy, greed, and cruelty. Marisa Berenson is terribly short-changed in her role as the Lady Lyndon, but a number of other performers are given the opportunity to create a handful of memorable moments -- especially Arthur O'Sullivan (albeit briefly) as the charming, intelligent highwayman and Patrick Magee as the Chevalier. Love it or hate it, Barry Lyndon will remain essential viewing for aficionados of the director, who enjoys taking his usual shots at the more discouraging aspects of human behavior.

The genius Stanley Kubrick has truly outdone himself by crafting this masterpiece. After viewing A Space Odyssey, I thought there were no films more beautiful, but the breathtaking painting-like scenes of Barry Lyndon paired with music exquisitely chosen by Kubrick are simply stunning. There are some who may say that this film is too long or stale, but I say, that this film must be savoured slowly, and that one must enjoy it for what it is, which is almost like a series of ethereal paintings, one after another. Watch this film not for the end, but watch it and live with the fact that every scene is a part of the whole, and that the wholeness and oneness in itself is beautiful. Say, if we only watched movies for the ending, then composers who only wrote finales would be the greatest. All you must do is to simply sit down and relax, then, nothing else except absolute enchantment can possibly follow.

In terms of story this is on the surface at least, the simplest thing Kubrick ever made. However in terms of the technical aspect, it must have been one of his most challenging. The plot is basically about how greed, arrogance and ignorance can easily become the ruin of a man. The story itself is well told, but mostly quite simple as I said. The humor keeps us interested in the story, as does its undeniable visual beauty. It is not a stretch to say that this must be among the most beautiful looking films ever made. Every scene is filmed in all natural light, whether it be by sun or fire, and the landscapes and architecture handpicked by Kubrick himself are amazing. As in all Kubrick films, so much attention to small details equates to a great result in the end. Spielberg himself has called this film "possibly the most beautifully shot film in history.".

In terms of story, it's entertaining, in terms of it's technical achievement, the film is a landmark. Even for all the story's simplicity, there is a startling statement in the film that certainly can give the viewer real pause and thought. The finality of this world, the equality of all things in the end. It is certainly an interesting, powerful and very humbling down to earth observation. It is the kind of worldly observation that could perhaps lead some people to ruin, and yet lead others to strive for perfection. Perhaps that is part of Kubrick's thinking here, a Kubrickian challenge if you will, as he certainly was always an artist that was challenging his viewers. That through this observation people may become more aware of what they're leaving behind in this world...as one day, we will all equally be gone. For all the things written about this film, it is probably not nearly as unimportant of a story as many critics have said of it. Then again, critics and moviegoers alike have long been trying to catch up to Stanley, and never the other way around. 8.5/10.

Barry Lyndon (1975) has to be Stanley Kubrick's most realized project that he has ever taken. A big task for the maverick director. For a film like this to be made during the free wheeling seventies had to take some big stones. One must admire Mr. Kubrick for even trying to produce and direct such a complex and expensive film that had all the ear markings of a financial and personal disaster. Not only did Kubrick manage to out do his last epic "2001" but he has created a movie that not only showcases the untapped acting abilities of Ryan O'Neil, but a beautifully lensed film that uses minimal lighting , gorgeous sets, perfect balance, positioning and meticulous timing. I have never seen such a magnificent film such as this one. Every shot and frame plays out like an eighteenth century oil painting.

A young Irish man of lower class has the strangest quirk of luck. After participating in an illegal duel, young Barry is forced to flee from his home village. After being accosted by some gentlemanly highway robbers, Barry winds up cross country and becomes a conscripted soldier. Rising in rank, Barry is sent to fight in the Seven's Year War. Whilst in battle he watches his friends and fellow soldiers being slaughtered in combat due to poor tactics and leadership. Having enough of this life of hardship and struggle, Barry uses his god given talents to do what he has to do in order to survive and become a man of proper social standing.

I was very impressed with this movie. I've put off watching this film until recently. Some have told me how long and boring this movie was. Others have said it was pretty self serving and not worth watching. But after seeing part of it on T.C.M., I just had to find a copy of my own. The film is over three hours in length but they go by very quickly because Barry's story is so captivating. Kubrick poured his heart and soul into this film. The results are on the screen. He's clearly a master film maker. His reputation is cemented forever with this movie. Ryan O'Neil impressed the hell out me with his role as Barry Lyndon. He gives the character some dignity and depth that no other actor could have possibly given to the title role.

Overall I would have to give this film one of my highest recommendations. This is one of my top ten films of all time. If people tell you not to watch this masterpiece ignore them. I advise you to get a copy and enjoy. For a film like this you need to set aside a weekend afternoon to fully appreciate a film such as this. Believe me you will not regret it.

Highest recommendation possible.

It doesn't matter whether you watch it on D.V.D. or V.C.D. because the transfers are excellent on either format.

In fact it's one of Kubrick's most gripping pictures, with a narrative drive second only to that of "Dr. Strangelove" (and it's unquestionably a more glorious creation than, say, anything he made in the 1950s). English director Michael Powell (while attributing a similar failing to one of his own works) says that Kubrick fell into "the trap of the picturesque", but while I admire Powell as a creator, the judgment is absurd: at the VERY least, each lush image shows us people not just occupying a part of the screen but inhabiting a world, and tells us much about their relation to that world. Many shots are indeed amazing and beguile the eye, but they don't have the effect they do simply because they would make nice postcards.

THIS, I feel sure (without having read Thackeray), is the proper way to adapt a long story from novel to screen. Each scene is either allowed as much time as it needs to make its point and its impact, or it's cut altogether - you won't catch Kubrick skating too quickly over his material for no better reason than to fit it all in. The third-person narration (consisting of witty, beautifully crafted sentences - it's about time I did read Thackeray) almost performs a kind of dance with the images, gliding in just when we need it, taking a step back when we don't. (So rarely is even third-person narration used so well.) And as always, Kubrick's musical sense is unerring. My impression at the time was that I was listening to mid-eighteenth century music that gave way to pieces from the classical era as the hero started to move in higher and higher circles. I was more or less right. But then I noticed Schubert's name in the credits - and I realised with a start that I'd been listening to, had even started tapping my feet to, a Schubert piece I was familiar with, without the anachronism registering.

It's a pity Kubrick stopped making epics after this. Look at the ones he's responsible for: "Spartacus" (not a project Kubrick was fond of, admittedly, but still the most magnificent of all Roman epics) "2001" (the most magnificent of ALL epics), and "Barry Lyndon". The last of the three is by no means a poor cousin.