“ the most beautiful film in the world ” (L’Aurore), “ A masterpiece. The best film of Stanley Kubrick “(Het Parool),” The most perfect movie ever made “(Tagblatt-Zurich). Here are some excerpts of the criticisms that when wrote the premiere, the distant date of 1975 Barry Lyndon . Undoubtedly one of the great moments, not only the career of his-author filmmaker Stanley Kubrick, as the history of cinema, is now restored to the Cinema Ideal for digital copy from this Thursday until August 17.
Never a movie had so many plans to appear with pictures of the time (including Hogarth, Watteau, Reynolds and Gainsborough), where color, wardrobe, characterization and scenarios consist of a thorough elegance detail and high aesthetic sense. Much ink ran already on the film have been shot in the candlelight, with lenses developed by NASA (John Alcott photography is magnanimous); the visual beauty; the director have asked the actress Marisa Berenson not caught sun for several months in order to achieve the required color; having been shot in natural locations, not building any scenarios; or even the choice, almost fetishistic, soundtrack, all her songs from the classical period ( Barry Lyndon is by Händel what 2001: A Space Odyssey (1969) did for Strauss). And yet, despite all the stories that prove his undoubted talent perfectionist, Barry Lyndon seems to come from another world. A time when rhythm (calm, like a dream that you breathe) prevailed the assembly, staging the argument, the composition of the exhibition, in short, the cinema as a form of contemplative supreme art, which does not deny its roots in others. Said in a few words, Barry Lyndon 2001 of the eighteenth century.
And yet, it remains the most underrated film and misunderstood American filmmaker. One that is perhaps the masterpiece of Kubrick (defined, among others, by Scorsese who used it as a strong reference to your The Age of Innocence (1993)) was denigrated from the start by poverty of his argument, the pace and the apathy of his characters, although the visual splendor has always been consensual and admired.
No more wrong. Kubrick, at various times of his work, he became interested in human psychology, exposing characters who repressed their feelings face to social pressures, be they political in origin ( Clockwork Orange (1971)), military ( Glory Horizons (1957)), sexual ( Lolita (1962)) or marriage ( Eyes Wide Shut (1999)) and exhaust the an irrepressible rage in key moments of the story with consequences for all the characters (you must remember the suicide of Vincent d’Onofrio in Full Metal Jacket – Born to Kill (1987)?). Hence, to be portrayed an aristocratic environment where impressions are everything and a set of masks is necessary to have to become someone, Barry Lyndon is your more restrained, which does not prevent it contains a the most violent scenes around the Kubrickiano film, the one who beats the adopted son after this humiliating Barry in front of people of high status, by interrupting a recital of music.
But that it is, anyway? Long path involving the rise and fall of Irish Raymond Barry (Ryan O’Neal) in the eighteenth century, willing to do anything to get out of the miserable status that was condemned to live after the victory that got to face a coward English gentleman He courted the press, in a duel. Path that involves serve the English army in the Seven Years War, the accomplice of a dishonest player and become seduce the wife of a Lord. A cruel man? See when Barry plunges into alcoholism after the death of his son in a horse fall (perhaps the most notorious film reference of this work, of course, the Gone with the Wind ) or contemplate to madness gradual Lady Lyndon when he realizes that his whole marriage was absent love.
If Barry Lyndon retains its original power, it is also be a high ambiguities movie , not cosmic philosophy, but of characters, where the onlooker design them the emotions and thoughts that they do not express, but the face and small gestures. As once said, Kubrick in an interview “ I think it is essential, if a man is good, this also know that it is bad and the show, or if it is strong, it decides which are the moments in history that is weak and show “[1].
and then there is the end, perhaps the most memorable memento mori movie where a card-epilogue announces that all related characters “ good or bad, attractive or ugly, rich or poor, are all equal now .” It is the futility of human existence, the eternal dilemma of the meaning of life answered in two words alone, “ THE END ”
[1] Kubrick, Stanley:” Notes on Film. “ The Observer , December 4, 1960
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