How does an Irish lad without prospects become part of 18th-century English nobility? For Barry Lyndon (Ryan O’Neal) the answer is: any way he can! His climb to wealth and privilege is the enthralling focus of this sumptuous Stanley Kubrick version of William Makepeace Thackeray’s novel. For this ravishing, slyly satiric winner of 4 Academy Awards®, Kubrick found inspiration in the works of the era’s painters. Costumes and sets were crafted in the era’s designs and pioneering lenses were developed to shoot interiors and exteriors in natural light. The result? Barry Lyndon endures as a cutting-edge movie that brings a historical period to vivid screen life like no other film before or since. —Warner Bros.
Stanley Kubrick was born in New York, and was considered intelligent despite poor grades at school. Hoping that a change of scenery would produce better academic performance, Kubrick’s father Jack (a physician) sent him in 1940 to Pasadena, California, to stay with his uncle Martin Perveler. Returning to the Bronx in 1941 for his last year of grammar school, there seemed to be little change in his attitude or his results. Hoping to find something to interest his son, Jack introduced Stanley to chess, with the desired result. Kubrick took to the game passionately, and quickly became a skilled player. Chess would become an important device for Kubrick in later years, often as a tool for dealing with recalcitrant actors, but also as an artistic motif in his films.
Jack Kubrick’s decision to give his son a camera for his thirteenth birthday would be an even wiser move: Kubrick became an avid photographer, and would often make trips around New York taking photographs which he would… read more
Kubrick overcomes the unfortunate miscasting of O'Neal with typical aplomb in this ravishing adaptation of Thackeray's novel, a leisurely telling of the rise and fall of an Irish rogue during the 18th century. Despite my initial reservations O'Neal rises to the occasion in the dramatic scenes, of which there are many. Without a shadow of doubt, this is the most visually beautiful colour motion picture I've yet seen..
Costume dramas (even when they're good) have a tendency to be florid and melodramatic .One of the brilliant things about Barry Lyndon is that we're kept at arm's length the whole time, observing the events and social customs of the time with a wry detachment summed up wonderfully in the end: "......good or bad, handsome or ugly, rich or poor, they are all equal now."
The National Film Preservation Foundation announced today that the next volume in their invaluable series of DVD releases will be Treasures
"The Iranian Shrek and the American Kiarostami do not represent, in their new homes, what they represent in the film worlds where they originated
Surprisingly, Barry Lyndon makes for only the second Stanley Kubrick film I’ve seen. Not very impressive for a guy who claims to love movies as much as I do, I know. But I have long wanted to familiarize… read review
Barry Lyndon (1975) is probably one of Stanley Kubrick’s rarest and most glorious films in which he took deepest pride directing. Incidentally, his films are remarkably different from one another… read review
Stanley Kubrick’s forgotten gem needs reassessed as one the finest examples of great film making. His attention to detail, gorgeously commented by lavish music and artwork worthy cinematography is… read review