When “Barry Lyndon” debuted in the US in 1975, the legendary “Mad” magazine, which in each issue publishes a “charge” devastating to a prominent film, titled his parody “Borey Lyndon” ., a pun made from the name of the character in the movie, Barry, and “boring” ( “boring”) “disgusted” was just one of the things that the critics who did not like the Stanley Kubrick movie – and even some who do not disgusted – they called him. “Cold”, “distant”, “hollow” and “decorative” were others. It was as if after four films, “Lolita,” “Doctor Strangelove”, “2001 – A Space Odyssey” and “A Clockwork Orange”, which, each in their own way, churned the waters (and not only from an artistic point of view ), and divided the critics, Kubrick had done with “Barry Lyndon,” a settled period film, formalist, academic, that united much of the criticism in the same disappointment.
[See "trailer" original "Barry Lyndon"]
the tape, now back in digital form restored, was a modest commercial success in the uS, did better in Europe and won four Oscars (best Art Direction, Photography – for big John Alcott – Wardrobe and Soundtrack). But Stanley Kubrick left high and dry as the Oscars for Best Screenplay, Director and Film for which he was nominated. Even misunderstood and minimized, “Barry Lyndon” always had staunch supporters among moviegoers, critics (American Roger Ebert and Richard Schickel, or French Michel Ciment, for example) and directors (is the favorite Stanley Kubrick movie filmmakers as disparate as Martin Scorsese and Lars von Trier). Increasingly more considered and appreciated with the years, consists today of the lists of the Best Films of All Time “Sight and Sound”, the “Time” or “Village Voice”
[See the new "trailer" movie]
After two films set in the future -. a distant ( “2001″), another neighbor ( “Clockwork Orange “) – and after not getting funding for his project on Napoleon, due to the commercial failure of the monumental” Waterloo “, Sergei Bondarchuk, Stanley Kubrick wanted to stay in the past. Thackeray player, the filmmaker thought first to shoot “Vanity Fair”, but realized that the busy story could not be told in the limited space of a film, and that “would be destroyed in the paper path to the screen,” as a rare interview with Michel Ciment, all dedicated to “Barry Lyndon.” The choice then fell into “The Luck of Barry Lyndon” (1844), also Thackeray on an Irish upstart trying to meddle in the English aristocracy. The book is considered one of the first, or even the first, with an anti-hero, or “no hero”, according to the writer himself.
[See Ryan O'Neal talk about Stanley Kubrick and Shooting]
As always used to happen when books adapted to film, Kubrick made several changes in history. The most important was the replacement of Barry Lyndon ( played by Ryan O’Neal, a choice very attacked to the point, but it results because the actor can do this your character with whom it is difficult to empathize, but it is “very real which is neither a conventional hero nor a conventional villain, “as noted by the director in the aforementioned interview) as imperfect narrator in the first person by a narrator outside the story and omniscient, though not entirely reliable. Kubrick also attenuated the humorous tone of the book and towed it to the dramatic side, without do without lines satiric.
[See scenes from the movie]
The replacement of “Barry Lyndon “digitally restored version confirms it as one of the best films of Stanley Kubrick. is a work of an unassailable narrative drive, visual, dramatic, aesthetic and historical recreation, increased expression of exhausting the director perfectionism and its technical innovation, subjected to an artistic vision and never decorative or order free effects, here patent in use, to the sequences in the candlelight, a Zeiss lens belonging to a batch ten manufactured for photographic satellites and Apollo NASA missions, and that the filmmaker still modified. is a tape that adapting a book but never becomes “literary” drinking in painting and engraving time the action takes place (Constable, Gainsborough, Hogarth) without becoming pictorial, where literature and art are always servants of an idea consistent, eloquently and powerfully cinematic representation in the pageantry as intimacy. It is a film in splendor wherever you look, whatever show in all that counts.
[View the movie battle scene]
There are still “Barry Lyndon” a detail of special liking for those interested in military history as the author of these lines. Following the fighting in Prussia during the Seven Years’ War, where the protagonist fights the English side against the French, the distances of shooting between the soldiers are accurate, a very rare case of rigor in the historical film or military theme that usually exaggerate by or down for dramatic purposes, proving the importance and care that Stanley Kubrick put the minutiae and details. For he knew not only the devil is in the details, is also the likelihood.
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