1975 Directed by Stanley Kubrick
In the Eighteenth Century, in a small village in Ireland, Redmond Barry is a young farm boy in love with his cousin Nora Brady. When Nora engages to the British Captain John Quin, Barry challenges him for a duel of pistols. He wins and escapes to Dublin, but is robbed on the road. Without any other alternative, Barry joins the British Army to fight in the Seven Years War.
Ryan O'Neal Marisa Berenson Patrick Magee Hardy Krüger Diana Körner Gay Hamilton Frank Middlemass Arthur O'Sullivan Godfrey Quigley Leonard Rossiter Philip Stone Steven Berkoff Marie Kean Murray Melvin André Morell Leon Vitali Billy Boyle John Bindon Roger Booth Jonathan Cecil Peter Cellier Geoffrey Chater Anthony Dawes Patrick Dawson Bernard Hepton Anthony Herrick Barry Jackson Wolf Kahler Pat Laffan Show All…
Showed this to my mom today. She thinks 2001: A Space Odyssey is the most boring film of all time, she walked out of A Clockwork Orange and she never ceases to complain about every aspect in Dr. Strangelove.....
And yet, she was utterly entranced for every second of Barry Lyndon, laughing and crying along with the ravishing imagery and the remarkable storytelling.
Ladies and gentlemen, there's a Stanley Kubrick film for everyone.
I was twigged to re-watch Barry Lyndon by some recent great reviews here. My personal goal for this viewing was to try to reconcile why Barry Lyndon works. Not as a masterpiece, but rather how it works at all. After all, it’s a 3 hour and 4 minute period piece based pretty literally on a 19th century text ... that stars Ryan O’Neil.
Cinematography. Let’s get this out of the way first. Kubrick’s ... er, John Alcott’s photography is breathtaking. As beautiful as the paintings of the period. The use of technical and cinematic technique is well covered by some other great reviews here on Letterboxd. Does it make the film work? I don’t think so. It contributes to it…
"He wants to step into my shoes...
HE WANTS TO STEP INTO MY SHOES!"
Three hours of being absolutely fucking enthralled.
Why didn't anybody ever tell me how hilarious this movie is?
Ah, and I guess the cinematography was passable... haha.
In all seriousness though, this might be my favorite Kubrick next to 2001: A Space Odyssey. An altogether fun, enjoyable and immensely beautiful experience. An accurate aesthetic, a pitch perfect score, wonderful narration and the best performance of Ryan O'Neal's career contribute to making this an unforgettable masterpiece.
I maintain now and always that this is one of the great comedies, a slow burn of greed, cowardice and arrogance that depicts an aristocratic structure that creates arbitrary divisions among European nations united in the absurdity of their power hierarchies. The film suggests that the entire aristocracy of Europe is maintained by interbred families and brazen confidence tricks perpetuated by both pretenders and genuine members of the ruling class. Watching this, it's a wonder how WWI took as long as it did to break out. That it is one of the most rapturously photographed films ever made is almost a mere bonus.
Of all the classics that Stanley Kubrick enriched us with throughout his filmmaking career, Barry Lyndon is the only one I wasn't looking forward to with excitement. Period dramas aren't really my thing, for I find this genre far too preoccupied with its lush set pieces, period-specific make-up & antique costumes than the main story at hand, and while this film does checkmark all those elements, there is something about it that sets it apart.
From the moment the famous classical composition, Sarabande, by Handel opens the film by accompanying that Warner Bros. logo, Barry Lyndon had my attention. But what eventually left me absolutely spellbound was just how extraordinarily beautiful its images were from the first frame to the last.…
This is a three hour long period piece based on 19th century text, man I thought I’d be asleep by the first thirty minutes but I was utterly captivated by every moment of this film.
Not only is Barry Lyndon such a cinematic wonder (big ups John Alcott) it also manages to exist at such a slow pace and still be fun and enjoyable
Barry Lyndon is so grand, boundless with such spectacular beauty all while being somewhat dreadful and amusing.
okay, so it was beautiful. it was also depressing and a bit boring. i mean, i was consistently engaged, but rise and fall narratives have always been uninteresting to me, especially when the rise is so slow and languid, and the fall is on the edge of being anti-climactic. i found the visuals, acting and most of the story interesting enough to give it four stars but i just don't *get* all the effusive praise.
or maybe i'm just in a terrible mood because i think we have ANOTHER new supervisor in my work department and i think she might have just ignored the christmas break i made my last supervisor aware of 2 months in advance and i think she already hates me lmao
Bus, 1 of 1 thanks to getting too drowsy for Lyndin' and Conin'. Managed to pay attention all through this one, though, which is a reasonable degree of achievement.
i wanted to hold off on seeing this so it could be the final piece of the kubrick filmography for me to watch once i realized it was the last "big" film of his i hadn't seen yet, and i'm so glad i did. definitely the definition of a slow burn, especially since a period drama isn't something that i'd normally gravitate to, but the last half hour left me literally breathless - like, having to remind myself to breathe breathless.
and now i'm sad that i'll never be able to experience a kubrick for the first time ever again in my lifetime. fuck.
Perhaps the most beautifully composed film I have ever seen. The framing in Kubrick movies always stands out.
Barry Lyndon has no right to work as well as it does. It is a slow, three-hour historical drama, of which significant portions meticulously depict interpersonal conflicts. It was adapted from an obscure novel. It should be boring, austere, overwrought, and forgettable. Yet it is one of Kubrick's finest achievements. In this way, it may even be more impressive than that of 2001, for the spectacle of 2001 demands admiration, while Barry Lyndon is a spectacle at which one arrives, and to which one must be receptive, like a great painting.
The subtlety with which Kubrick indicts the artificiality of aristocratic prestige is breathtaking. Though important throughout the film in key moments (and in contrast to the much-noted slow zoom…
Barry Lyndon looks like a renaissance painting come to life. It is beautifully shot, and nearly each frame is a work of art. The quality of the production design and helps to make the movie feel even more authentic.
The performances, especially Ryan O’Neal, are all good, and although Barry’s character does some messed up things, we still root for him and almost like him in a sort of way. His rise to fall story was thoroughly entertaining, which says a lot considering how long this movie is. The score adds another level to the movie, and all the perfectly executed elements coming together make Barry Lyndon something truly special.
Barry Lyndon, Stanley Kubrick ustanın Kral George III'ün hükümdarlığı döneminde yaşayan hayali bir İrlandalı Redmond Barry hakkındaki filmi . Bu film, büyüleyici ve renkli setlerin, sahnelerin ve yeşilliklerin yanı sıra etkileyici sanat ve mimarlık eserlerinin geniş çekimiyle kusursuz bir şekilde bir sezgi yakalamayı başarıyor. Film ayrıca klasik parçaları ve skoru oluşturan yürüyen müziğin etkili bir kombinasyonunu içerir.
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