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.
Based on the 1935 novel of the same name, it tells the story of an ill-fated assault on German forces by French soldiers, and the grippling consequences those soldiers face when they refuse to follow through with it.
In future Britain, charismatic delinquent Alex DeLarge is jailed and volunteers for an experimental aversion therapy developed by the government in an effort to solve society's crime problem - but not all goes according to plan.
A family heads to an isolated hotel for the winter where an evil and spiritual presence influences the father into violence, while his psychic son sees horrific forebodings from the past and of the future.
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
The movie was nominated for seven Oscars, winning in four categories. The three nominations lost by the movie (Best Screenplay, Best Director and Best Film) were all nominations given to Stanley Kubrick, making him the only person involved with the movie who didn't win any Oscar for it. See more »
Lord Wendover is introduced to Barry as 'Gustavus Aldophus, Earl of Wendover'. However later on, when Barry (now in disgrace) attempts to persuade the Earl to join him for lunch in the Club dining room, he addresses him twice as 'Neville.' 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 »
I can't believe that there are people who find this dull.
In fact it's one of Kubrick's most gripping pictures, with a narrative drive second only to that of "Dr. Strangelove" (and it's unquestionably a more glorious creation than, say, anything he made in the 1950s). English director Michael Powell (while attributing a similar failing to one of his own works) says that Kubrick fell into "the trap of the picturesque", but while I admire Powell as a creator, the judgment is absurd: at the VERY least, each lush image shows us people not just occupying a part of the screen but inhabiting a world, and tells us much about their relation to that world. Many shots are indeed amazing and beguile the eye, but they don't have the effect they do simply because they would make nice postcards.
THIS, I feel sure (without having read Thackeray), is the proper way to adapt a long story from novel to screen. Each scene is either allowed as much time as it needs to make its point and its impact, or it's cut altogether - you won't catch Kubrick skating too quickly over his material for no better reason than to fit it all in. The third-person narration (consisting of witty, beautifully crafted sentences - it's about time I did read Thackeray) almost performs a kind of dance with the images, gliding in just when we need it, taking a step back when we don't. (So rarely is even third-person narration used so well.) And as always, Kubrick's musical sense is unerring. My impression at the time was that I was listening to mid-eighteenth century music that gave way to pieces from the classical era as the hero started to move in higher and higher circles. I was more or less right. But then I noticed Schubert's name in the credits - and I realised with a start that I'd been listening to, had even started tapping my feet to, a Schubert piece I was familiar with, without the anachronism registering.
It's a pity Kubrick stopped making epics after this. Look at the ones he's responsible for: "Spartacus" (not a project Kubrick was fond of, admittedly, but still the most magnificent of all Roman epics) "2001" (the most magnificent of ALL epics), and "Barry Lyndon". The last of the three is by no means a poor cousin.
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