In 1975 the world was at Stanley Kubrick's feet. His films Dr. Strangelove, 2001: A Space Odyssey, and A Clockwork Orange, released in the previous dozen years, had provoked rapture and consternation--not merely in the film community, but in the culture at large. On the basis of that smashing hat trick, Kubrick was almost certainly the most famous film director of his generation, and absolutely the one most likely to rewire the collective mind of the movie audience. And what did this radical, at-least-20-years-ahead-of-his-time filmmaker give the world in 1975? A stately, three-hour costume drama based on an obscure Thackeray novel from 1844. A picaresque story about an Irish lad (Ryan O'Neal, then a major star) who climbs his way into high society, Barry Lyndon bewildered some critics (Pauline Kael called it "an ice-pack of a movie") and did only middling business with patient audiences. The film was clearly a technical advance, with its unique camerawork (incorporating the use of prototype Zeiss lenses capable of filming by actual candlelight) and sumptuous production design. But its hero is a distinctly underwhelming, even unsympathetic fellow, and Kubrick does not try to engage the audience's emotions in anything like the usual way.
Why, then, is Barry Lyndon a masterpiece? Because it uncannily captures the shape and rhythm of a human life in a way few other films have; because Kubrick's command of design and landscape is never decorative but always apiece with his hero's journey; and because every last detail counts. Even the film's chilly style is thawed by the warm narration of the great English actor Michael Hordern and the Irish songs of the Chieftains. Poor Barry's life doesn't matter much in the end, yet the care Kubrick brings to the telling of it is perhaps the director's most compassionate gesture toward that most peculiar species of animal called man. And the final, wry title card provides the perfect Kubrickian sendoff--a sentiment that is even more poignant since Kubrick's premature death. --Robert Horton
2.
BARRY LYNDON is Stanley Kubrick's epic costume drama based on William Makepeace Thackeray's picaresque novel. It tells the story of a young rogue who wanders through life getting lost in various adventures, meeting his share of women and oddball characters. When Redmond Barry (Ryan O'Neal, trying desperately to maintain an Irish brogue) becomes jealous of Captain Quin's advances on Barry's beloved cousin, he challenges the man to a duel. Winning the duel, young Barry is forced to leave his home and his mother, and off on his adventures he goes. He meets thieves, lonely soldier brides, Prussian army leaders, and British widows, inventing new stories about himself at every turn of the road.
BARRY LYNDON is lush and magnificent, sparkling with color, every frame reminiscent of the finest European art. The blues of the Prussian army uniforms and the reds of the British contrast sharply with the majestic green land and mountains in nearly every background. Kubrick often begins a shot close in, then zooms out to reveal the beautiful natural landscape and ornate rooms surrounding the now seemingly insignificant characters. With rousing performances from O'Neal, Marisa Berenson, Hardy Kruger, and Leonard Rossiter, jaw-dropping camerawork, spectacular natural lighting, and a marvelous classical-music soundtrack painstakingly put together by Kubrick, BARRY LYNDON is a dramatic romantic epic that may be Kubrick's most beautiful film.
3.
How does an Irish lad without prospect (Ryan O'Neal) become part of 18th-century English nobility? Any deceitful, diabolical way he can! An awesomely beautiful, hauntingly romantic adaptation of the classic book with a texture and feel unlike any other historical movie ever made. Winner of 4 Academy Awards!
4.
Perhaps Stanley Kubrick's most underrated film, Barry Lyndon--adapted from the picaresque novel by William Makepeace Thackeray--inhabits the 18th century in the way A Clockwork Orange and 2001: A Space Odyssey inhabit the future: perfect sets, costumes and cinematography capture characters whose rises and falls are at once deeply tragic and absurdly comical. Narrated in avuncular form by Michael Hordern, the film follows the fortunes of Redmond Barry (Ryan O'Neal), a handsome Irish youth forced to flee his hometown after a duel with a cowardly English officer (Leonard Rossiter). Stripped of his small fortune by a deferential highwayman, Barry joins the British army and fights in the Seven Years War, attempting a desertion that leads him into the Prussian army. A position as a spy on an exquisitely painted con man (Patrick Magee) leads to a life of gambling around the courts of Europe, and just before the intermission our hero achieves all he could want by marrying a wealthy, titled beautiful widow (Marisa Berenson). However, Part Two reveals that Barry can no more be a clockwork orange than the protagonist of Kubrick's previous film, and his spendthrift ways, foolhardy pursuit of social advancement and unwise treatment of his new family lead to several disasters, climaxing in another horrific, yet farcical duel. Shot almost entirely in the "magic hour", that point of the day when the light is mistily perfect, with innovative use of candlelight for interiors, Barry Lyndon looks ravishing, but the perfection of its images is matched by the inner turmoil of its seemingly frozen characters. Kubrick is often accused of being unemotional, but his restraint is all the more affecting when, for example, Barry is struck by the deaths of those close to him, his wife writhes into madness or his stepson (Leon Vitali) vomits before he can stand his ground in a duel.
On the DVD: The extras are skimpy, a trailer and a list of awards, a French alternate soundtrack and subtitles in seven languages. However, the film--"digitally restored and remastered"--is served superbly by the medium. Letterboxed to 1.59:1 (which fits the 14:9 option of a widescreen TV), with a 5.1 Dolby Digital soundtrack, the print looks and sounds wonderful, which not only allows a fresh appreciation of the wit and beauty of the film but shows just how good the apparent underplaying (unusual in Kubrick films) of the cast is. --Kim Newman
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