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.
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.
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
In a scene where Patrick Magee was supposed to deal cards, he began to sweat, and the sweat on his palms made it nearly impossible to deal cards smoothly. Stanley Kubrick brought in a professional card dealer, and then realized that the card dealer's hands were smooth while Magee's were hairy. To prevent continuity problems, Magee's hands were shaved so the cuts would both look like him. See more »
When Barry steals Lt. Fakenham's horse and uniform, he neglects to steal his riding boots, however in the very next scene, he is wearing riding boots. 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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