Barry Lyndon (1975)

An Irish rogue wins the heart of a rich widow and assumes her dead husband's aristocratic position in 18th-century England.

Director:

Stanley Kubrick

Writers:

Stanley Kubrick (written for the screen by), William Makepeace Thackeray (novel)

Stars:

Ryan O'Neal, Marisa Berenson, Patrick Magee

Top Rated Movies #221 | Won 4 Oscars. Another 13 wins & 14 nominations.

Cast

Cast overview, first billed only:
Ryan O'Neal	...	Barry Lyndon
Marisa Berenson	...	Lady Honoria Lyndon
Patrick Magee	...	The Chevalier du Balibari
Hardy Krüger	...	Capt. Potzdorf (as Hardy Kruger)
Steven Berkoff	...	Lord Ludd
Gay Hamilton	...	Nora Brady
Marie Kean	...	Barry's Mother
Diana Körner	...	Lischen (as Diana Koerner)
Murray Melvin	...	Rev. Samuel Runt
Frank Middlemass	...	Sir Charles Lyndon
André Morell	...	Lord Gustavus Adolphus Wendover (as Andre Morell)
Arthur O'Sullivan	...	Capt. Feeny - the Highwayman
Godfrey Quigley	...	Capt. Grogan
Leonard Rossiter	...	Capt. John Quin
Philip Stone	...	Graham

Storyline

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.

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Plot Keywords:

highwayman | rise and fall | wealth | england | duel | 

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Taglines:

Great was his rise...And much greater his fall.

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Genres:

Adventure | Drama | History | War

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Certificate:

PG

Details

Country:

UK USA

Language:

English German French

Release Date:

18 December 1975 (USA)

Also Known As:

Барри Линдон

Filming Locations:

Royal Victoria Park, Bath, Somerset, England, UK

Box Office

Budget:

$11,000,000 (estimated)

Gross USA:

$20,000,000, 31 December 1975

Cumulative Worldwide Gross:

$31,500,000, 31 December 1975

Company Credits

Production Co:

Peregrine, Hawk Films, Warner Bros.

Technical Specs

Runtime:

185 min

Sound Mix:

Mono

Color:

Color (Metrocolor) Color (Eastmancolor)

Aspect Ratio:

1.66 : 1

Did You Know?

Trivia

Many of the shots were composed and filmed in order to evoke certain 18th-century paintings, especially those by Thomas Gainsborough.

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Goofs

While being set in the 18th Century seen in the film are late 19th Century commodes, a mid-Victorian fire-guard and a Victorian neo-Roman table.

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Quotes

[first lines]
[two figures visible on the horizon prepare to duel. Three witnesses stand between them]
Second: Gentlemen, cock your pistols! Gentlemen...
Narrator: Barry's father...
Second: ...aim your pistols!
Narrator: ...had been bred, like many other young sons of a genteel family, to the profession of the law.
Second: One!
Narrator: And there is no doubt he would've...
Second: Two!
Narrator: ...made an eminent figure in his profession...
[...]

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Connections

Referenced in Les mercredis de l'histoire: Opération lune (2002)

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Soundtracks

Women of Ireland
Composed by Sean O'Riada
Harp: Derek Bell

User Reviews

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.