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Barry Lyndon follows the exploits of the titular Irishman, an opportunist that comes from humble means but sets himself to become an aristocrat at any cost during the 18th Century. The above quote is the vow that his mother declares as she joins and instigates many of the dubious dealings to elevate his son's social status.
Barry Lyndon (Ryan O'Neal) is, by all means, an insignificant person, that fights in insignificant skirmishes during the war, and gets involved in insignificant romances. His life history is bookended by insignificant duels for insignificant reasons, all while he aspires to achieve significance, to no avail.
This is the second time I watch this, and although I was a bit lukewarm on my first viewing, I ended up appreciating it a lot more this time. Present in it is Kubrick's perennial theme of dehumanization, as we see Lyndon dehumanized by his desire to climb the social ladder, which he briefly achieves, but to the expense of everyone around him.
It is ironic to think that Kubrick's original idea was to make a biopic about Napoleon, a man of allegedly small stature but great achievements, but then went the other way to make a film about Lyndon, a tall man (O'Neal is 6'1") but, again, of insignificant achievements. O'Neal might not be the best actor, the few emotional moments needed for his character are a bit lacking, but I think he was the best actor for this role.
But other than Lyndon's ups and downs through the aristocrat path, what takes center stage on this film is the amazing direction, cinematography, set design, and whatnot. The film is one of the most gorgeous films I've seen with every shot seemingly taken from a painting. There is a subtext in that, as we see characters that are essentially immoral and insignificant, surrounded by this facade of beauty in the background and surroundings.
As much as Barry and his mother tried to achieve significance, through "important friends" and money, their attempts ended up being fruitless in the end. Fate wasn't in Barry's favor, but it was in favor of this film which, despite being previously seen as rather insignificant amidst Kubrick's oeuvre, has gained more favor recently. It certainly did with me.
Grade:
BARRY LYNDON
(1975, Kubrick)
A drama film
(1975, Kubrick)
A drama film
"I shall not rest until I see you as Lord Lyndon. You have important friends. They can tell you how these things are done. For money, well-timed and properly applied, can accomplish anything."
Barry Lyndon follows the exploits of the titular Irishman, an opportunist that comes from humble means but sets himself to become an aristocrat at any cost during the 18th Century. The above quote is the vow that his mother declares as she joins and instigates many of the dubious dealings to elevate his son's social status.
Barry Lyndon (Ryan O'Neal) is, by all means, an insignificant person, that fights in insignificant skirmishes during the war, and gets involved in insignificant romances. His life history is bookended by insignificant duels for insignificant reasons, all while he aspires to achieve significance, to no avail.
This is the second time I watch this, and although I was a bit lukewarm on my first viewing, I ended up appreciating it a lot more this time. Present in it is Kubrick's perennial theme of dehumanization, as we see Lyndon dehumanized by his desire to climb the social ladder, which he briefly achieves, but to the expense of everyone around him.
It is ironic to think that Kubrick's original idea was to make a biopic about Napoleon, a man of allegedly small stature but great achievements, but then went the other way to make a film about Lyndon, a tall man (O'Neal is 6'1") but, again, of insignificant achievements. O'Neal might not be the best actor, the few emotional moments needed for his character are a bit lacking, but I think he was the best actor for this role.
But other than Lyndon's ups and downs through the aristocrat path, what takes center stage on this film is the amazing direction, cinematography, set design, and whatnot. The film is one of the most gorgeous films I've seen with every shot seemingly taken from a painting. There is a subtext in that, as we see characters that are essentially immoral and insignificant, surrounded by this facade of beauty in the background and surroundings.
As much as Barry and his mother tried to achieve significance, through "important friends" and money, their attempts ended up being fruitless in the end. Fate wasn't in Barry's favor, but it was in favor of this film which, despite being previously seen as rather insignificant amidst Kubrick's oeuvre, has gained more favor recently. It certainly did with me.
Grade: