Barry Lyndon

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 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.

Some movies - I wish there were more of them - simply look like a series of great paintings. This film has that look. You could freeze-frame many of the scenes and swear you were looking at a Gainsborough, a Vermeer, a Hogarth or similar work of art by one the great artists of three to five centuries ago. It's just beautiful.

For that, we have Director Stanley Kubrick and Photographer John Alcott to thank. Being a three-hour movie, there are plenty of wonderful shots to admire, too. In addition, the costumes are lavish and authentic and the scoring is notable. It's no accident that Oscars were garnered for art/set direction, cinematography, costume design and scoring. Yeah, if you enjoy classical music, you'll really enjoy the soundtrack, too, under the guidance of conductor Leonard Roseman.

Not to be overlooked is the fine acting and the interesting and underrated story. I say "underrated" because this film, from what I've read, bored a lot of people and and it was a box-office flop. That's too bad because, frankly, I found the story (outside of the first 10--15 minutes) to be fascinating. As I watched, I kept wondering what strange occurrences will happen next to the lead character, "Redmond Barry/Barry Lyndon," played beautifully by Ryan O'Neal. (For most of the movie, he's called "Redmond Barry," so I will refer to him as that.)

Overall, this was a low-key adventure story about the rise-and-fall of a "scoundrel" back in late 18th century Englishman. "Mr. Barry" is an Irishmen living in England who winds up dealing with a number of people: Irish, English, Prussian, French. His dealings with these people are bizarre at times. While he mainly is shown doing what he can to promote himself, for either monetary gain and prestige of a name and power, he's not all bad. There is a compassionate side to him, but it only shows itself in small doses. It makes him all the more interesting to watch, because you don't always know how he's going to react to his circumstances, which change radically every few years.

We witness his rise to prominence and then his fall when his "sins begin to find him out," as the Bible would describe. It's quite a roller coaster ride.

This is an emotional, involving story, and a feast for the eyes and ears. It's quite different, too, certainly not the average fare from Kubrick. I can only hope this comes out on a high-definition disc some day. Admirers of this film need to see this in all its glory.

Martin Scorcese reportedly considers this to be Kubrick's best film. I must agree, and I would say it's his best by some fair margin. I've never seen a film with photography that even begins to approach that in Barry Lyndon. But everyone mentions the photography. The three things that most decisively set this film apart from all of Kubrick's others and really haven't been mentioned enough are its enormous heart, its uncompromising spirit, and the way it seems to suspend time over and over again, simultaneously standing still yet flowing along easily, almost breathlessly. If you watch it expecting A Clockwork Orange or The Shining, you'll be very disappointed and may end up calling it long and boring, but if you set aside an entire evening and surrender yourself totally to its magic, I swear you'll be looking for yourself in Stunland a few hours later. I's time to treat yourself to Barry Lyndon. You may be shocked at discovering what's been there for so long.

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.