Barry Lyndon (B or 3/4 stars)
'Barry Lyndon' (produced, directed & adapted from William Makepeace Thackeray's novel by Stanley Kubrick) is a gorgeous-looking, if languuuiiidddly paced 185 minute long epic satire of an Irish adventurer. This is an esteemed motion picture for sure - with good performance & incredible visuals - I just found the narrative to be way too uninvolving & stuffy; sometimes, with minutes going by where nothing is really happening. Set in the 18th century, his film chronicles the rise & fall of Irishman Redmond Barry who, as an adult, would be known as the titular Barry Lyndon (Ryan O'Neal).
Growing up humbly, largely due to the early death of his aspiring lawyer father in a duel, good-natured Barry - the potential breadwinner - tries to live up to being a true gentleman in every aspect of the word. He tries to find his way, but is sometimes knocked a few pegs down as he goes. One of those pegs: an unsuccessful romance with his cousin Nora (Gay Hamilton), who is betrothed by her family to the more economically-sound army Capt. Quin (Leonard Rossiter). Tragedy strikes and, Barry is forced to flee Dublin. But a double-cross occurs during that 'tragedy' that may come back to bite Barry later. After the fleeing, Barry gets robbed of all he has; forcing him to enlist in the army. During the Seven Years' War, he gets embroiled in more drama concerning the stealing of identity papers, going AWOL & being forced to join the Prussian army. He makes some $$ as a gambler throughout Europe.
But Barry eventually hits his stride in falling for with wealthy English countess, the Lady Honoria Lyndon (Marisa Berenson), who he ends up marrying following the sudden death of her elderly 1st husband, Sir Charles Lyndon (Frank Middlemass). In taking over the affairs of the Lyndon mansion, Barry feels that he has 'made it'. Howwwever, Barry squanders the Lyndon fortune, leaving all off the Lyndons to struggle. As Barry is without $$ of his own, Barry's adoring mother (Marie Kean) encourages her son to work toward nobility as a means to have $$ of his own; fearing that if Lady Lyndon were to die, she would leave the remaining Lyndon wealth to Barry's stepson, Lord Bullingdon (Leon Vitali), who hates his stepdad so much so, that he blocks any attempt by him to buy the title of Lord. Everything culminates in a fateful duel btwn. Barry & stepson, Lord Bullingdon. Something or someone has always tripped Barry up; but most of all, he has no one to blame but himself.
This is a sprawling film that has much to say about class privileges, opportunities that come & go, dubious morals, & encroaching cynical reactions to the world as we know it. It's also just an incredible film to look at; a visual feast that traverses lush landscapes, amazing palatial estates & other interesting locales. John Alcott's cinematography is sensational; giving 'Barry Lyndon' its distinctly elegant look. Alcott won the Academy Award for his stunning work, as would Ken Adams & co. for the gorgeous production designs, Milena Canonero & Ulla-Britt Soderlund for their sublime aristocratic costumes, & Leonard Rosenman for his lovely music score. Director Kubrick may have lost 3 awards on Oscar night, but his tech team won a deserving 4.
Despite his considerable screen presence, Ryan O'Neal is a fairly robotic actor, but that serves him well here as the roguish Irish farm boy-turned-adventurer. And he exhibits good chemistry with model/actress Marisa Berenson, who is beautifully adorned is a plethora of wigs & gowns throughout. Patrick Magee impresses most as Chevalier de Balibari, the gambler who takes Barry on as both his protege & spy. Acting is not this film's strong suit, nor is the narrative pacing; as I mentioned above. I'm sure that Kubrick's script captures the spirit & mood of Thackeray's novel, but I was curiously uninvolved with the story, despite the technical mastery.
Growing up humbly, largely due to the early death of his aspiring lawyer father in a duel, good-natured Barry - the potential breadwinner - tries to live up to being a true gentleman in every aspect of the word. He tries to find his way, but is sometimes knocked a few pegs down as he goes. One of those pegs: an unsuccessful romance with his cousin Nora (Gay Hamilton), who is betrothed by her family to the more economically-sound army Capt. Quin (Leonard Rossiter). Tragedy strikes and, Barry is forced to flee Dublin. But a double-cross occurs during that 'tragedy' that may come back to bite Barry later. After the fleeing, Barry gets robbed of all he has; forcing him to enlist in the army. During the Seven Years' War, he gets embroiled in more drama concerning the stealing of identity papers, going AWOL & being forced to join the Prussian army. He makes some $$ as a gambler throughout Europe.
But Barry eventually hits his stride in falling for with wealthy English countess, the Lady Honoria Lyndon (Marisa Berenson), who he ends up marrying following the sudden death of her elderly 1st husband, Sir Charles Lyndon (Frank Middlemass). In taking over the affairs of the Lyndon mansion, Barry feels that he has 'made it'. Howwwever, Barry squanders the Lyndon fortune, leaving all off the Lyndons to struggle. As Barry is without $$ of his own, Barry's adoring mother (Marie Kean) encourages her son to work toward nobility as a means to have $$ of his own; fearing that if Lady Lyndon were to die, she would leave the remaining Lyndon wealth to Barry's stepson, Lord Bullingdon (Leon Vitali), who hates his stepdad so much so, that he blocks any attempt by him to buy the title of Lord. Everything culminates in a fateful duel btwn. Barry & stepson, Lord Bullingdon. Something or someone has always tripped Barry up; but most of all, he has no one to blame but himself.
This is a sprawling film that has much to say about class privileges, opportunities that come & go, dubious morals, & encroaching cynical reactions to the world as we know it. It's also just an incredible film to look at; a visual feast that traverses lush landscapes, amazing palatial estates & other interesting locales. John Alcott's cinematography is sensational; giving 'Barry Lyndon' its distinctly elegant look. Alcott won the Academy Award for his stunning work, as would Ken Adams & co. for the gorgeous production designs, Milena Canonero & Ulla-Britt Soderlund for their sublime aristocratic costumes, & Leonard Rosenman for his lovely music score. Director Kubrick may have lost 3 awards on Oscar night, but his tech team won a deserving 4.
Despite his considerable screen presence, Ryan O'Neal is a fairly robotic actor, but that serves him well here as the roguish Irish farm boy-turned-adventurer. And he exhibits good chemistry with model/actress Marisa Berenson, who is beautifully adorned is a plethora of wigs & gowns throughout. Patrick Magee impresses most as Chevalier de Balibari, the gambler who takes Barry on as both his protege & spy. Acting is not this film's strong suit, nor is the narrative pacing; as I mentioned above. I'm sure that Kubrick's script captures the spirit & mood of Thackeray's novel, but I was curiously uninvolved with the story, despite the technical mastery.