Barry Lyndon (1975)

User Rating:

8.1/10   

Director:

Stanley Kubrick

Writers:

Stanley Kubrick (written for the screen by)
William Makepeace Thackeray (novel)

Release Date:

18 December 1975 (USA)

Genre:

Drama | Romance | War

Plot:

An Irish rogue wins the heart of a rich widow and assumes her dead husband's position in 18th Century aristocracy.

Plot Keywords:

British Army | Duel | 18th Century | Seven Years War | Irish

Awards:

Won 4 Oscars. Another 11 wins & 11 nominations

Cast

Ryan O'Neal	...	Barry Lyndon / Redmond Barry
Marisa Berenson	...	Lady Lyndon
Patrick Magee	...	The Chevalier
Hardy Krüger	...	Captain Potzdorf (as Hardy Kruger)
Steven Berkoff	...	Lord Ludd
Gay Hamilton	...	Nora Brady
Marie Kean	...	Barry's Mother
Diana Körner	...	German Girl (as Diana Koerner)
Murray Melvin	...	Reverend Runt
Frank Middlemass	...	Sir Charles Lyndon
André Morell	...	Lord Wendover (as Andre Morell)
Arthur O'Sullivan	...	Captain Feeny, the Highwayman
Godfrey Quigley	...	Captain Grogan
Leonard Rossiter	...	Captain Quin
Philip Stone	...	Graham

Runtime:

184 min

Country:

UK

Language:

English | German | French

Colour:

Colour (Eastmancolor)

Aspect Ratio:

1.37 : 1

Sound Mix:

Mono

Certification:

Canada:A (Nova Scotia) | Canada:AA (Ontario) | Canada:PG (Manitoba) | Spain:18 | Finland:K-16 (1976) | Sweden:15 | France:Unrated | Brazil:12 | Canada:14A (video rating) | Argentina:Atp | New Zealand:PG | Australia:PG | Canada:G (Quebec) | Netherlands:12 | Singapore:PG | UK:A (original rating) | UK:PG (video rating) (1987) | West Germany:12 | USA:PG | Iceland:12

Filming Locations:

Baden-Württemberg, Germany

Company:

Peregrine

Trivia:

Hardy Krüger replaced an actor who was fired.

Goofs:

Continuity: Blood on Toole's face during the fight with Barry.

Quotes:

[first lines]
[two figures visible on the horizon prepare to duel. Three witnesses stand between them]
Second: Gentlemen, cock your pistols! Gentlemen...
Narrator: Barry's father...
Second: ...aim your pistols!
Narrator: ...had been bred, like many other young sons of a genteel family, to the profession of the law.
Second: One!
Narrator: And there is no doubt he would've...
Second: Two!
Narrator: ...made an eminent figure in his profession...
[...]

Movie Connections:

Referenced in Creating A.I. (2002) (V)

Soundtrack:

HOHENFRIEDBERGER MARCH

I can't believe that there are people who find this dull.

In fact it's one of Kubrick's most gripping pictures, with a narrative drive second only to that of "Dr. Strangelove" (and it's unquestionably a more glorious creation than, say, anything he made in the 1950s). English director Michael Powell (while attributing a similar failing to one of his own works) says that Kubrick fell into "the trap of the picturesque", but while I admire Powell as a creator, the judgment is absurd: at the VERY least, each lush image shows us people not just occupying a part of the screen but inhabiting a world, and tells us much about their relation to that world. Many shots are indeed amazing and beguile the eye, but they don't have the effect they do simply because they would make nice postcards.

THIS, I feel sure (without having read Thackeray), is the proper way to adapt a long story from novel to screen. Each scene is either allowed as much time as it needs to make its point and its impact, or it's cut altogether - you won't catch Kubrick skating too quickly over his material for no better reason than to fit it all in. The third-person narration (consisting of witty, beautifully crafted sentences - it's about time I did read Thackeray) almost performs a kind of dance with the images, gliding in just when we need it, taking a step back when we don't. (So rarely is even third-person narration used so well.) And as always, Kubrick's musical sense is unerring. My impression at the time was that I was listening to mid-eighteenth century music that gave way to pieces from the classical era as the hero started to move in higher and higher circles. I was more or less right. But then I noticed Schubert's name in the credits - and I realised with a start that I'd been listening to, had even started tapping my feet to, a Schubert piece I was familiar with, without the anachronism registering.

It's a pity Kubrick stopped making epics after this. Look at the ones he's responsible for: "Spartacus" (not a project Kubrick was fond of, admittedly, but still the most magnificent of all Roman epics) "2001" (the most magnificent of ALL epics), and "Barry Lyndon". The last of the three is by no means a poor cousin.