Review of Kubrick's Barry Lyndon

            This is the first of a series of reviews about classic films. The first film I have selected to review is Stanley Kubrick’s Barry Lyndon. Made in 1975 it just makes the cut of a classic film, in my opinion at least, for the 1970s were a time of dramatic change for the film industry. I will comment on Kubrick’s style directorial choices and the strengths and weaknesses of the film.

            First, I cannot say enough of the photography or cinematography of Barry Lyndon. Scene after scene is presented near to a painting from the 18^th century. Saying it is well done is an understatement. I was repeatedly made breathless by the scene composition of natural scenes like forests, etc and other scenes of soldiers marching in battle and the grand house of the Lyndons.

            I thought the acting was good, but no really strong performances. Perhaps Ryan O’neil as Barry Lyndon or Lord Bullingdon put forth the best efforts. The script was an adaptation of a novel and was well done. It used narration to explain most of the scenes, practically telling the  viewer what would happen. There was a transition between several sequences; one in Ireland, one on the continent, and one as a member of the English nobility.

            I thought the best scene of the film was when Lord Bullingdon makes a scene and ruins his stepfather’s plans to attain noble status. It is a rare example to see Aristocrats from the Age of Reason to lose all sense of rationality, composure, and restraint. The scene shows, perhaps foreshadows, Mr. Lyndon’s ultimate end.

            The film starts out with Lyndon trying to gain the hand of his cousin. It ends in a dual which he thinks he has shot an English Captain. Later on in the film he discovers that he was setup to think he won the duel to get him out of the way. Barry then joins the British army and travels to the continent. There he deserts to Prussia and is found to be an imposter by a Prussian officer. He is then forced to join the Prussian army and only escapes after gaining the favor of a fellow Irishman.

            At the beginning and end of the film conflict between Barry and his English oppresors becomes apparent. The English always hold the strings. In the beginning sequence he is obstructed by an English army captain from his cousin’s hand in marriage. At the end he is obstructed to noble title by his step-son, an Englishman.

            Barry is, like Ireland, obstructed from gaining independence and freedom from the English. He lives on the run, lives aimlessly, only to be foiled again by the English. Perhaps this is the overriding theme of the film. In both cases of conflict there is Barry, Irish, peasant, and unknown, and blocking his way to marriage and nobility is English, and noble. Both conflicts are resolved against Barry. In the first instance he is conned into thinking that he has killed the British officer only to learn later on that the officer is still alive and married to the woman Barry wanted to marry. In the second instance, and perhaps the more bitter, Barry is confronted by his step-son Lord Bullingdon, and loses in a duel.

            The film is well-crafted by Kubrick. It won several BAFTA awards (British Academy Awards) and was well-received by critics. It shows the range of Kubrick and what he was capable of producing. Only a very highly regarded director such as Kubrick could’ve pulled off Barry Lyndon. With Barry Lyndon Kubrick adds to his range of films and solidifies his reputation as director of legendary status. In other words, has Kubrick made a “bad” movie?