★★★★★

Barry Lyndon (1975)

Written by Dalton Welsh - October 20, 2020

I certainly wouldn’t be the first to say that Stanley Kubrick has made some of the most groundbreaking and defining pieces of cinema in film history and is rightfully considered by many to be one of, if not the, greatest filmmaker of all time. So, it is shame that his 1975 film Barry Lyndon does not get nearly the same amount of recognition as his more widely renowned films like 2001: A Space Odyssey, The Shining and Full Metal Jacket. The film follows Barry, an Irish rogue who gets into a relationship with a rich widow and cheats his way to the top of the 18th-century British society, by assuming the identity of her dead husband. With the usual Kubrick standouts of impeccable production design, effecting performances and exacting editing. Where it shines, perhaps more than any of his other films, is in its beautiful cinematography and attention to character.

Of those who are aware or have seen Barry Lyndon the often first cited praise is that of the film’s visual excellence. Making use of almost exclusively natural lighting, with many of the night scenes lit purely by candlelight. Making for an aesthetic that doesn’t feel manufactured, giving the film a real authentic quality. And this absence of overtly dramatic lighting works perfectly for a period film such as this. Additionally, with such low lighting in the night scenes it meant that Kubrick and his cinematographer John Alcott elected to use the same camera lenses that were developed by NASA to take photos of the dark side of the moon. Along with the exquisite lighting the composition of the shots themselves are another invaluable attribute to the film. With Kubrick taking strong influence from the paintings of 18th century Europe many of the shots are made to mimic the landscapes and portraits present in the artworks. When combined with the lighting it further adds to this all-encompassing 1700’s style, making it look as if it had been shot in the period. And with these paintings often being done for the upper-class wealthy families of the period, the aesthetic aligns thematically as well, as Barry works his way up the social hierarchy becoming part of this high society. Continuing with the visual strengths of the film the production and costume design are similarly stellar and attentive to detail. Shooting on location in England, Ireland and Germany pairing these grand sets of manors and estates from the period, the stunning Europe country side and exemplary costumes ranging from illustrious gowns to period accurate war uniforms for hundreds of extras are simply awe inspiring.

Of course, while these aspects of the film are perhaps it’s strongest attributes, your fixation on the screen to the visuals is enhanced by the complexity and strength of the journey that Barry endures. Performed with excellent command by Ryan O’Neal, who has powerful dialogue delivery but equally effecting silent brooding. With a runtime of just over 3 hours we a get a real sense of the evolution of Barry as a character. His humble beginnings as a soldier in the war and the fear we see from him brews great sympathy for his plight. And while his decision to steal the identity of another may be morally unsound, we understand his situation and feel something of pride for him as he works his way up the social ladder. This eventually reveals a typical, but nonetheless effecting rise and fall story. With Barry getting his comeuppance as his life begins to crumble and his obsession with his status and social image begin to cloud his perspective of the important things in life. So, while stylistically and story wise it is most definitely a period film, its themes of class and your status amongst peers is one that is timeless.

Then with this lengthy runtime the impact of this story requires a strong attention to pacing and in turn the films editing, which is masterfully executed by the film’s editor Tony Lawson. The scenes are just long enough to where you feel engrossed in them, but never drawn out to the point of boredom. With all the mastery present on screen they can afford to have longer shots, but there is never a point where it feels overindulgent. Ultimately making for a smooth and complimentary pacing to the film.

Honestly, there is so much to praise in this film that I haven’t even mentioned, like the performance of the other cast members and the great music, but I feel the excellence of this film has already been made clear. But to summarise, the film has fantastic attention to detail in the natural lighting, and artfully and thematically inspired framing, enhanced by the exquisite interior and exterior production and costume design. With a stellar lead performance from Ryan O’Neal as Barry, whose engrossing rise and fall journey, tackling notions of social status and perception is made as effecting as it is by the films great pacing. So, if you’re a fan of Kubrick, or just great cinema in general, this is absolutely a must-see.