I think Barry Lyndon hinges on the epilogue:
“It was in the reign of George the III that the above named personages lived and quarreled; good or bad, handsome or ugly, rich or poor, they are all equal now”All the honour, discipline and status cannot prevent this. But BL goes a step further than, say, Citizen Kane, because it involves us in the deception. “Aren’t these beautiful shots, aren’t they well framed?”, when really this kind of framing is simply reflecting the facade of the lives the characters are leading. These lives aren’t beautiful. Kubrick is not showcasing the times, fashions, he is ridiculing them. The theme, Sarabande by Handel is used in the same way, almost ironically. The epic grandeur of the song, as if it is proclaiming the glories of what we are seeing. But what we are seeing is senseless, meaningless. Everything in the film is done to these means. Why does the film ‘descend’ into melodrama? Well, one to show that Barry is as human as the rest of us underneath, but second, to make us care. Why does Kubrick want us to care? So we relate to the character? to give a human element? No, I don’t think so. It is to crush our hopes at the end, when it is pointed out that none of it mattered at all. Kubrick is a monster. and a genius.
sorry if i’m a bit early :P
had to get that out there while i was thinking of it
dp
Great analysis Kennard. I’d even go as far as to say that Kubrick was pointing at Lyndon and saying look at this total fuckwit and how he blundered his way up the ladder and down it again. The way I interpreted the end quotation was that we are not fit to judge either despite it all because our lives can easily be just as ephemeral and tragic. When people say that Kubrick is emotionally “cold” I like to mention this film because there’s so much humanity in the way people interact with understated gestures and eye contact.
The best scene (aside from the courtship of the Countess) are the numerous con man moments when Lyndon is cheating others or lying. Not because he’s doing it out of malice but he simply isn’t sure how else to approach a situation.
Since it’s possible that I may not be able to comment on this topic when everybody else gets on, I’ll go ahead and throw it out now. There may be SPOILERS, so beware …
Well, let me begin by saying (typing) that I’m glad I was able to revisit this film because, though I had seen it twice before, it has been quite some time and I’ve come to appreciate it a little more through this third viewing.
Being one who had originally only read Thackeray’s novel before seeing the film (before my cinematically obsessed days), Kubrick’s changes didn’t really bother me. There’s quite a bit of “history” between Barry’s uncle and the Lyndons which was left out of the film; and there’s this whole sub-plot of some kind of regaining the family’s status and whatnot, anyway I’m rather happy that it was taken out.
The “final duel” was also an addition of the screenplay, which I greatly enjoyed. As in other reviews I’ve read there’s a “dueling motif” that Kubrick created by book-ending the film with Barry’s father’s death in a duel at the beginning and Barry’s final duel at the end of the film – something which wasn’t emphasized in the novel.
A major change was where the film ended as well. The novels ends practically with Lady Lyndon’s death and the cancellation of Barry’s “allowance”, after which he eventually is imprisoned for his crimes of fraud and dies in prison … of course the film doesn’t follow this course, but I don’t think much is lost really. The film still ends appropriately and with generally the same “message”. I actually like the film’s ending because it doesn’t hammer in the point quite so strongly.
The most apparent change was the third-person narration. The novel was originally in first-person narrated by Barry himself (playing the part of the unreliable narrator) and read more like something that might have heavily influenced more recent writers such as Terry Pratchett and Douglas Adams, including amusing footnotes that contradicted Barry’s account on certain points. It definitely lent the novel a very humourous air, something which the film downplays quite a bit. Of course there ARE humourous moments in the film, but it’s much more grandiose and formal (another appropriate descriptive word might be “understated”).
Then of course, there’s the music which is a wonderful selection of classical pieces that perfectly complement the fantastic cinematography (I had totally forgotten how good the score was). I’m actually not an enormous fan of Handel, but I do hold Sarabande in high regard especially for it’s rather minimalist structure and, of course, all those frills! Mmm, frills.
All in all, it’s still not my favourite Kubrick film (though it has been moved a few “notches” up the list) – that honour is reserved for Dr. Strangelove (and I have a fondness for A Clockwork Orange as well, so sue me), but Barry Lyndon is certainly a film that should be seen. Really incredible lighting (which is old news, but it should be mentioned) and I like how Ryan O’Neal plays the title role – it begins with naivety (with a truly endearing “find the ribbon” scene near the beginning of the film … and personally rather nostalgic – and that’s all the info I’m divulging that on that one chaps … let’s just say it didn’t involve a cousin or relative, heh), then bravado/arrogance, newfound joy (from his son’s birth), disillusionment, and finally weariness.
It’s really an amazing, subtle, and realistic transformation. Another O’Neal film I love: Bogdanovich’s Paper Moon.
Never read the novel that “Barry Lyndon” was based on, but the film reminded me in some ways to Guy de Maupassant’s “Bel Ami”. Both tell the story of a pitiful character and his social rise; as they sometimes leech off others and have almost meaningless encounters where they overwhelm and seduce others with fake politeness and don’t seem to mind when they are being used as tools. Both works are episodic in nature and presented in two parts, also both feature duels.
I must admit that the story often left me quite uninterested; including Barry’s interactions with the Chevalier, and I couldn’t help but think that the whole thing was partially just an aesthetic exercise for Kubrick. Every frame was a painting, with beautiful morning hour and candle light photography but at the same time often emotionally void and for me at least quite dull.
Back to fake politeness, It’s something I have noticed in several of Kubrick films (Eyes Wide Shut, Lolita) his characters are trying their hardest to come over pleasant but end up sounding rather phoney, with overdrawn smiles and weasely mannerisms.
The film has it’s share of playful moments, like delightful “find the ribbon” scene (as already mentioned above)
“Then of course, there’s the music which is a wonderful selection of classical pieces that perfectly complement the fantastic cinematography (I had totally forgotten how good the score was).”
I agree, the classical score was amazing, and kept the film’s pace up.
“I’d even go as far as to say that Kubrick was pointing at Lyndon and saying look at this total fuckwit.”
Actually I think this sums it up very nicely, Kubrick must have loved ridiculing Barry.
Like Salem, I have never read the novel that is movie is based on, so I will treat the movie as its own original piece for the purposes of this discussion. For those of you who don’t know me or know little about me, I will begin by saying that I’ve been in the field of psychology for the bulk of my adult life. Due to this, I can’t help but view movies through a psychological/ behavioral lens.
I thought the movie captured the rise and fall of Mr. Redmond Barry quite authentically. Similar to some revolutionaries and men of power, he made himself something out of nothing, but his gluttonous greed towards wealth and status eventually led to his decline→brilliantly illustrated through what the above review has mentioned as a “dueling motif”.
The romantic is me was left feeling a little sad and disappointed in Barry that he wasn’t satisfied in courting and marrying Lady Lyndon. He seemed more intrigued by the chase and the upward mobility through the social ladder that marrying her granted him. My little fairytale ending was shattered by honest and authentic illustration of human nature. I am guilty of this myself when I become interested in the pursuits of rather than enjoyment in the situation itself.
The last thing I will mention that I noticed in the movie that again depicts a side of human nature is the idea of “emotional spouses”. I was apparent in Lady Lyndon’s relationship with her eldest son soon after her marriage to Barry and also in Barry’s relationship with his mother. While Barry and Lady Lydon could have been looking to each other for support and love, they sought it through intergenerational lines. Something I commonly see in the family structure of “dysfunctional” families (whatever dysfunctional means…)
P.S. I agree with what some of you guys have already mentioned about the music and Kubrick. Not re-stating to avoid redundancy.
“I’d even go as far as to say that Kubrick was pointing at Lyndon and saying look at this total fuckwit.”
Actually I think this sums it up very nicely, Kubrick must have loved ridiculing Barry.
but in the end, doesn’t Barry come out looking far better than Lord Bullingdon? he does to me.
i can’t say much that hasn’t already been said, but one thing does bug me every time i watch it: why is the duel at the beginning with Captain Quinn (and for that matter the one with Barry’s father) so different from the final duel with Lord Bullingdon?
“but in the end, doesn’t Barry come out looking far better than Lord Bullingdon? he does to me.’’
I kind of feel like Barry had it coming. Lord Bullingdon does come off quite childish and weak in his attempt to have pride and assert his masculinity. All the characters would be annoying to know in real life, except maybe Bryan, but even he was a greedy little boy.
one of the best first hours of any movie, but loses it for me after red has the kid.
I apologize. I still have my Barry Lyndon DVD wrapped up. Work and school didn’t let me spare time for Barry. I’m going to have to pass on this thread. I look forward to the next Simultaneous Watching & Analysis though. :(
didnt watch recently, disqualify my post. or dont, post stands.
Beneezy, the next film should be Opening Night as I just got it from Netflix and I’m watching it tomorrow.
@Beneezy.
No worries, you can still post on the thread in a few days if you watch the film or want to add anything.
Maybe for next film choice we give people more time to watch the film. Maybe plan for one week ahead. Just an idea.
@ stephen: check back here in a day or two. this is where we nominate/ vote for films Simultaneous Watching and Analysis
@ Salem: Yes I agree! this one was my bad. I rushed things a bit. :/
Yes for sure. So Natasha? Are we voting tomorrow? When is the next voting?
Let’s give this thread another day and then begin nominations maybe Friday morning?
Thanks for the link Natasha, much appreciated and hopefully I can join in the next discussion.
Ok ok sounds good.
I’d still like to hear your thoughts on BL when you have a chance. Esp, since this was your recommendation!
Oh yes most definitely. I’m going to see it tomorrow.
This is a pretty cool idea. Actually, Salem probably remembers that I tried to organize a virtual movie night for the superb cinema discussion we had on MySpace. We had one fantastic discussion of Malick’s The New World and then it kind of fizzled out. But if the organizers of this exercise decide to allow more time for the watching—say, maybe a week—I’ll definitely try to participate.
@ Blue: Yes, I rushed things last time with BL. I think a week is totally fair s that everyone who wants to can get the movie and participate.
“i can’t say much that hasn’t already been said, but one thing does bug me every time i watch it: why is the duel at the beginning with Captain Quinn (and for that matter the one with Barry’s father) so different from the final duel with Lord Bullingdon?”
Tibby: Are you referring to Lyndon’s actions? Barry was a broken man and the outcome wasn’t important. He was done fighting for anything and was willing to let “fate” take over.
It’s pure genius with the way Kubrick paced that scene. You could also say that Lyndon’s act of giving up his shot wasn’t necessarily considered a noble one but still selfish because he was hoping to escape from his own emotional trauma. Lyndon ultimately had no regard for Bullingdon at all and viewed him as not someone worthy, period.
I do think that that was the “irony” about the film, that Barry ended up taking on the role of Captain Quinn (or not necessarily Quinn, but that archetype). Of course, Barry was in different states of mind on the two occasions, but the circumstances seemed to be more than just a coincidence.
And you’re right, Luibei, Barry was always depicted as having a selfish nature in the film and it’s this aspect of the character that Kubrick seemed to emphasize more than in the novel (from what I remember at least). In the novel there was at least some kind of unselfishness in Barry’s motivations (re-establishing the family status), but Kubrick completely took out that facet of the novel to compact the Barry character a little more. Also, he might’ve considered that to have been a little too much information, ultimately serving to distract the audience from the core personality of Barry.
far and away my favorite Kubrick, it’s a film about class and social climbing like no other. Serious as the ehart attack that kills Lady Lyndon’s first husband it ends with a sight of great important that is as a rule never shown — signing the checks!
Ryan O’Neill is perfectly cast as a total schmuck. Marisa Berenson (who’s quite brilliant in the soon-to-be-released “I Am Love”) has neevr gotten her proper due for this virtually silent performance.
It’s Kubrick’s most Jewish film. Why? Try to rise above your station and you’ll lose your leg!
I just got done with Barry Lyndon and, first of all, I’d like to establish that I thought it was a truly magnificent film, and without a doubt my new favourite of Kubrick’s output (I’ve never been overly fond of Kubrick, but it still bested the strong competition of Dr. Strangelove, A Clockwork Orange and Paths of Glory).
As for Kubrick mocking Barry, I don’t really agree with that. Here’s my interpretation, although it’s only what I read of the film within my first viewing of this masterpiece:
Barry is a man who lacks control over his own existence and, after stumbling upon the means to better it, has been too far damaged by the bitter taste of past experience (the loss of his first love, the robbery he endures on the highway, forced enlistment into a military far worse than the one he earlier tried to escape). With his new cynical outlook, Barry is unable to use the social manoeuvrability, afforded him by his intimate acquaintance with de Balibari, to the ends he originally intended to. Instead of the personal liberty he seeks when leaving his home, he wants only the immediate and certain (but less fulfilling) security of wealth and social standing, complete with the chain and shackles that such wealth brings with it.
I’d also like to discuss the idea of identity presented in Barry Lyndon, but I’m having a hard time getting it into words. Throughout the first half of the film, Barry’s identity constantly shuffles – sometimes this change is imposed on him by events out of his control (the first duel makes it necessary for him to leave and gain responsibility for himself that changes him immensely, the new uniform he must wear is causes by his discovery at the hands of others), and sometimes he actively seeks a change of identity (his enlistment in the military, his decision to escape under a false identity). I can see this is inexplicably linked to the idea of class climbing, and the inescapable nature of your own personal identity (as also studied in Antonioni’s The Passenger, released the same year), but I’m having a hard time concretely reconciling the concepts at the present time.
The best Kubrick!
Beneezy
For anyone who is interested in watching “Barry Lyndon,” this is our Analysis thread!
Natasha
Apocalypse Salem
Deckard Croix
Robley
Phantom
Beneezy
Etc…
Start the thread at this time if I don’t start it.
Time Zones:
Pacific Standard Time: (10pm) April 7, 2010
Greece: (8am) April 8, 2010
Eastern Standard Time: (1am) April 8, 2010
I guess time zones don’t matter now, but please let everyone know about the thread once you start it! Thanks. I look forward to it!