Kubrick's obsessed with the way his movies look. You never see a naked woman looking bad. Which is important. The attention to detail is a reflection of the perfectionism. People quibble over whether Ryan O'Neal was right for the part. Never occurred to me. He has a beauty about him that makes the second half of the movie richer for his tragic downfall.
An odd case of a magnificent movie that settles for being superficial. The strenuous effort to be gleaming scorned the story and the pace; the novel is simplified to the point of resembling a simple rise and fall tale; characters serve as mere props to move the story; the melancholic tone is achieved by cutting the actions and adding solely emotions; and Barry is left being a passive anti-hero with lack of response.
BARRY LYNDON - I think - is director Stanley Kubrick's underrated masterpiece. BARRY LYNDON has taught me a lot about filmmaking. Especially, its cinematography. This movie is one of the kind - where its cinematography really moved the storytelling. In my opinion, the cinematography of BARRY LYNDON talked a lot more than its dialogue. Every scene in this movie is "one perfect shot". BARRY LYNDON is classic!
Spectacular. We'll never have a film of this caliber again for the simple fact that we'll never have a director operate on the level of Kubrick and not at one who strives for perfection and quality like he did. Barry Lyndon is slower than other Kubrick affairs but each moment is loaded with subtext and thought. This is a dark, honest tale about a man's journey navigating life where each moment is a chess move.
Although it is a visually stunning film and has some great moments, I do think it is flawed. It is overly long in my opinion, it seemed to drag at points with no clear motive, I found myself not really caring about any of the characters even in the heavily emotional scenes. Generally I found it quite dry but the craftsmanship of Kubrick saves it from being a bad movie.
re-rating. One of the most monotonously repeated axioms in film concerns Kubrick's supposed genius, a filmmaker that from the totalitarian "2001", dedicated himself to do "definitive" genre films. This is The Historical, full of writing's pleonasms and self-inflate uneven reframing zooms, with a matte light loaded with shine. On top, an omnipresent soundtrack in search of the prestigious. Academicism, where art thou?