A New York City doctor, who is married to an art curator, pushes himself on a harrowing and dangerous night-long odyssey of sexual and moral discovery after his wife admits that she once almost cheated on him.
Set on the east coast of New Zealand in 1984, Boy, an 11-year-old child and devout Michael Jackson fan, gets a chance to know his absentee criminal father, who has returned to find a bag of money he buried years ago.
In the Eighteenth Century, in a small village in Ireland, Redmond Barry is a young farm boy in love with his cousin Nora Brady. When Nora gets engaged to the British Captain John Quin, Barry challenges him to a duel of pistols. He wins and escapes to Dublin but is robbed on the road. Without an alternative, Barry joins the British Army to fight in the Seven Years War. He deserts and is forced to join the Prussian Army where he saves the life of his captain and becomes his protégé and spy of the Irish gambler Chevalier de Balibari. He helps Chevalier and becomes his associate until he decides to marry the wealthy Lady Lyndon. They move to England and Barry, in his obsession of nobility, dissipates her fortune and makes a dangerous and revengeful enemy.Written by
Claudio Carvalho, Rio de Janeiro, Brazil
Stanley Kubrick had initially been planning to make a film about Napoléon Bonaparte. As per his usual method, he and his team did years of meticulous research into the subject and the era (Kubrick himself had reportedly read a few hundred books on Napoleon), so much that during the lengthy pre-production period, the similarly-themed Waterloo (1970) had also started development. Kubrick was forced to abandon his Napoleon film when the studio chose to back out of the project, allegedly due to budget issues (contrary to popular believe, the commercial failure of Waterloo had nothing to do with this decision, as Kubrick and the studio had already parted ways even before Waterloo went in production). Kubrick decided to make A Clockwork Orange (1971) instead, but continued his search for a story set in the 18th century afterwards, as it would allow him to use the copious period research done for his canceled Napoleon project. After considering and rejecting several of them, his eye finally fell on the story of Barry Lyndon by William Makepeace Thackeray. See more »
The glasses of the older robber are 20th century. There were no nose pads glasses in the early 18th century. See more »
[two figures visible on the horizon prepare to duel. Three witnesses stand between them]
Gentlemen, cock your pistols! Gentlemen...
...aim your pistols!
...had been bred, like many other young sons of a genteel family, to the profession of the law.
And there is no doubt he would've...
...made an eminent figure in his profession...
[...] See more »
" good or bad, handsome or ugly, rich or poor, they are all equal now".
The beauty, the depth, and the mystery of this film are unsurpassable - what Kubrick was doing with light is just a miracle. Special lenses were designed to shoot interiors and exteriors in natural light. In one scene Barry (Ryan O'Neil) was having a dinner with a German woman who was feeding her baby and the candle light made the whole scene look like a Caravaggio's painting. This is just one of many scenes. Each of them is perfection and harmony. Costumes and sets were crafted in the era's design. Age of Enlightenment with its gallantry, wars, and duels, had been recreated in the film with the precision of the celebrated landscape and portrait masters of the period such as Thomas Gainsborough; Sir Joshua Reynolds, founder of the Royal Academy of Arts; George Romney to name just a few. If nothing else, watching BL is pure aesthetic delight - and there is one man who responsible for it, Stanley Kubrick. If ever divine film was made, "Barry Lyndon" was it and Kubrick could've quoted the Bible - "God looked at everything he had made, and he found it very good".
I've read the comments and articles that call "Barry Lyndon" cold, slow, boring, "the collection of pretty pictures', "flawed" masterpiece, and the most ridiculous one, "glittering ornament with a hollow center". I simply can't understand it. "Barry Lyndon" is the most compelling and compassionate realization of the inevitable finality of everything in this world which was presented by the visionary director with elegant sensual melancholy. Stanley Kubrick known for his detached, seemingly remote and non-sentimental style chose to reach out to his viewer directly during the epilogue, "It was in the reign of George III that the aforesaid personalities lived and quarreled, good or bad, handsome or ugly, rich or poor, they are all equal now". I don't recall any other movie that would illustrate the old wisdom, "everything will pass" in such sublime and deeply moving way.
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