One of Stanley Kubrick's least remembered films, Barry Lyndon is among his greatest accomplishments. Kubrick's attention to visual detail is strikingly precise here. Using stunning wide-angle shots that capture entire landscapes, Barry Lyndon's scope resembles that of Akira Kurosawa's Ran and Milos Jancso's The Red and the White. As Redmond Barry (Ryan O'Neal) confronts the countrysides, wars, and rogues of 18th Century Europe in his quest for nobility, he's constantly bathed in nature. Every costume and set in Barry Lyndon is constructed to accurately portray the era. Pioneering lenses were developed to shoot interiors and exteriors alike in natural light; night scenes were shot exclusively in candlelight. Time and again, Kubrick utilizes medium closeups, then gradually zooms out to reveal Europe's hypnotic scenery in all its glory.
Most of Kubrick's post-Dr. Strangelove work ends where it began. 2001: A Space Odyssey begins with "The Dawn of Man" and concludes with the star child, an obvious allusion to the circle of life. A Clockwork Orange tracks Alex's rotation through dementia and attempted redemption. However, Barry Lyndon might have the most cyclical structure of them all. Redmond's transformation to Barry Lyndon is paved with difficulties; within the opening 15 minutes, his heart has been shattered by his cousin Nora (Gay Hamilton), who wishes to marry the wealthy Captain John Quin (Leonard Rossiter). Blinded by jealousy, Redmond insists on a gunfight and the outcome forces him to leave Ireland. Indeed, the film opens and closes with a duel (the first outdoors, the second inside, both splendid to behold), with their social consequences ultimately determining Barry's future.
The characters of Barry Lyndon are universally dishonest. Determined to reach aristocracy, Redmond lies, cheats, and enchants his way into nobility. While serving as a servant in the home of the Chevalier (Patrick Magee), Redmond meets Lady Lyndon and seduces her in six hours. She's everything he's dreamed of, a portal to social clout and luxury. After marrying her, he has a title (Barry Lyndon), a large estate, and an adopted son called Lord Bullington who loathes him. They also have a child of their own, Brian, upon whom Barry lavishes unlimited affection. Glimpses of Barry's humanity peek through during his moments with Brian, and explode in Kubrick's most wrenching moment near the film's conclusion.
Lord Bullington bears more than a passing resemblance to Redmond Barry, which is precisely why they abhor each other. A public encounter between them destroys Barry's social status, and personal tragedy emotionally decapitates him, leaving him to the bottle and dashed memories. Lord Bullington returns to demand satisfaction, resulting in the climactic duel where Barry, for the first time, becomes a man.
Review by Gabe Leibowitz: 3/12/03
This page created by JasMar Productions, LLC.
If you are interested in our FREE web design services, click here