Review of Barry Lyndon (1975) by Jorge A — 04 Oct 2010

The most successful literary film ever made is an unforgiving critique of the human condition and an enjoyable exercise in cinematic meditation. Stanley Kubrick is fearless in the direction of his film from story to technical preference.

His â??Barry Lyndonâ?? could not be any shorter in narrative as everything feels sufficient, but it could undoubtedly be shorter when considering shot length; the problem here, though, is that every pause, linger, and gaze has been mathematically calculated to give the viewer the reaction they feel â?? these feelings are administered, not interpreted, by the filmmaker.

All of these instances remain more than necessary. Although there is an interesting story at hand, â??Lyndonâ?? is an entirely technical achievement from its painstaking editing to the naturally-lighted cinematography.

It is difficult not to be entranced by the beautiful spectacle that unfolds onscreen, giving the film a classically unrestricted presence. With most attention paid to this technological setup it is of no surprise that many of the performances feel mechanical, yet it cannot be helped that they feel wholly intended as such and rightfully so.

Ryan Oâ??Neal, in the title role, can make the audience feel pity and hatred for the womanizing and deceitful beggar with this being credited to his sympathetic expressions rather than his acting. Many of the other players fill the void when the anti-hero is not present â?? an often occurrence â?? exceptionally well; not the least being Leon Vitali (playing Lord Bullingdon) who is a fine opposition to his unworthy stepfather.

Of course, Kubrick remains the star due to his complete control and precise execution in every aspect of his vision. This is something to be appreciated by anyone who fancies a flawless painting or a perfected orchestra.