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
Warner Bros. would only finance the film on the condition that Stanley Kubrick cast a Top 10 Box Office Star (from the annual Quigley Poll of Top Money-Making Stars) in the lead. Ryan O'Neal was the #2 Box Office Star of 1973, topped only by Clint Eastwood. Ironically, this was his only time in the top 10, as exhibitors - who voted the list - attributed the success of Love Story (1970) (one of the top grossers at the time) to O'Neal's co-star Ali MacGraw, and named her to the list in 1971. The other top 10 stars were 3. Steve McQueen, 4. Burt Reynolds, 5. Robert Redford, 6. Barbra Streisand, 7. Paul Newman, 8. Charles Bronson, 9. John Wayne, and 10. Marlon Brando. Thus, the only actors Kubrick could cast in the role and receive Warners' financial backing for his decidedly noncommercial project were O'Neal and Redford. The other Top 10 stars were too old or inappropriate for the role (particularly in the case of #6, who would not assay a "male" role until Yentl (1983) in 1983). Both O'Neal and Redford were Irish, both had box office appeal, and both were young enough to play the role, though Redford was five years older than the thirty-two-year old O'Neal in 1973. At the time, O'Neal was the bigger star, having also garnered a Best Actor Oscar nomination for "Love Story". However, Kubrick apparently offered the part to Redford first, but he turned it down, and thus O'Neal was cast. Redford's star would soon eclipse O'Neal's, as he would zoom to the top of the Box Office charts the next year after the successes of The Sting (1973) and The Way We Were (1973), clocking in at #1 in 1974, a position he also would anchor in 1975 and 1976. O'Neal dropped off the Top 10 list after 1973. His '73 appearance to this day, represents his sole appearance on that premier barometer of box office success for a thespian. 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 »
Kubrick's adaptation of Thackeray's Barry Lyndon sharply divides fans of the great director's work, as the languid pace and seemingly interminable running time -- not to mention Ryan O'Neal's questionable performance in the title role -- are cherished by some and deplored by others. Little argument will be made against John Alcott's Academy Award-winning cinematography or Ken Adam's production design, however, and Kubrickian motifs are manifest in the gallery of characters' wide-ranging displays of cowardice, guile, duplicity, avarice, jealousy, greed, and cruelty. Marisa Berenson is terribly short-changed in her role as the Lady Lyndon, but a number of other performers are given the opportunity to create a handful of memorable moments -- especially Arthur O'Sullivan (albeit briefly) as the charming, intelligent highwayman and Patrick Magee as the Chevalier. Love it or hate it, Barry Lyndon will remain essential viewing for aficionados of the director, who enjoys taking his usual shots at the more discouraging aspects of human behavior.
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