Review of Barry Lyndon (1975) by Alexander P — 04 Feb 2017

In 1975, Stanley Kubrick continued his grand steady flow of inspirational and timeless films with Barry Lyndon. It is a very patient film and one that is easy on the eye. The narrations tells us what is coming next and that isn't always fair but there is a strong classical touch here that is rare and very valuable. Kubrick shoots another pretty picture, that is no surprise but this one may stand aside (not necessarily above) from his other pictures. It lacks the extremities seen in most of his films but it replaces violence or mind-bending special effects with a touch of class and degree of historical appreciation that gains our immediate approval. Nevertheless, this film was nominated for Best Picture at the Academy Awards in 1975 along with some of the finest films of the decade such as Jaws, Dog Day Afternoon, and One Flew Over the Cuckoo's Nest. Not surprisingly, Kubrick was nominated for Best Director although the big winner was Cuckoo's nest that year. 1975 was a great year in film history and Barry Lyndon was a big part of the magic.

Ryan O'Neal plays the titular character and bears all the signs of self centeredness and greed that one man could possibly possess. After falling in love and having his heart broken after a duel gone wrong, Lyndon jumps from life to life, living different lies in different cities while ultimately seeking success. He feels that it is owed to him and he will find it whatever the cost. After marrying (conning) a wealthy woman, he has finally arrived in his perceived glory. He is finally a rich gentleman. What we see soon after is that his indulgences will never be satisfied and he quickly begins crumbling his fortune, ruining his marriage and the lives of those around him, and losing his grip on his place in society. The downfall is followed closely by narration and beautiful scenery to support the story's progress. There is, however, an aftertaste of dissatisfaction when considering the effort put forth in the ending or even just the briefness of detailing the ending. It all seems a bit shy and reserved, much like the story, characters, and social norms of the time. Among the lavish sets and period appropriate fashions, there is a stiffness or unemotional nerve running through this film's veins.

This is not a performance picture and not a typical Kubrick story. The camera seems to float through the pages of history and speaks to us mostly through imagery and narration. It is a magnificent achievement in direction and cinematography while also capturing some of the best costume designs I can recall. O'Neal fulfills the intended depth and mannerisms of arrogance and does not step too far out of script or composure. That is the impression I get from he and the rest of the cast as I see much restraint and confinement to deliver only the desired footage. As with the pace of the film, it all seems to be on a plateau and not moving too far up or down. Our attention is peaked at a medium height and Kubrick holds us there to impress upon us only certain qualities. That is what makes this film special, the attention to detail that the director was famous for and the perfectionism that went into this project is seen with no illusions. I would have liked more from the cast and story for a degree of highs and lows or something to assist in the pace of the experience but that is not what this film strived for. Instead, this experience is more like gazing into the frame of a classic painting in a museum. (B).