Barry Lyndon (The Criterion Collection) [4K UHD]

Stanley Kubrick did it again with “Barry Lyndon”, giving the public something entirely unexpected and perplexing to many of them, including noted film critics. They should have realized by now that Kubrick wasn’t going to give them a copy of what other directors were doing at this time and that his films, a totally immersive experience for him, would be like no other. Many, overwhelmed by its cinematic beauty but puzzled by its narration and emotional distance, compared it to a gorgeous coffee table book, something you look at dutifully but without much fervor. This kind of bewildered response became typical for the director’s films, all of which eventually were reappraised in later decades for the remarkable films they are. Kubrick seemed to have been in the process of becoming a director of science fiction in his last two films, so a sudden shift to the eighteenth century was a surprise in itself. The eighteenth century was itself an orphan among historical films, which tended overwhelmingly to favor the more easily understandable nineteenth and early twentieth. The Renaissance had become a recently popular setting after the success of Zeffirelli’s lush Shakespearean adaptations. But successful costume dramas set before the nineteenth century were rare in the 70s, a decade more interested in contemporary times. There was Tony Richardson’s “Tom Jones”, set in the same time period as “Barry Lyndon”, but it was a comedy that delighted and titillated audiences in 1963, filmed without serious regard for how people acted in that period. Richard Lester’s Musketeer films were set in the era of Louis XIII and again was a comedy with little regard for absolute historical accuracy. Both are good films despite this. Both also move very quickly, while “Barry Lyndon” was criticized for being slow. Like all things in a Kubrick film, this is intentional. Life was much slower then - it’s five days from Barrytown to Dublin - he slows down time to make the film feel accurate. I believe that one of the layers of this film was a desire by Kubrick to finally get it right this time and show, as much as possible, how things really were then, how wars were fought and how rooms were experienced in candlelight. This was not because of a pedantic devotion to historical accuracy per se, but because the brightly lit interiors of standard films showed something that didn’t exist, a world unlike what people actually experienced, and showing what it really was like gives more insight into the era and its people. The fact that Kubrick and his crew went to great effort to procure new lenses and to light everything with natural light or special equipment that could simulate it from outside a window is well documented. It was very important to this most visually oriented of directors to present the era as it was lived. This also included a painterly way of filming the scenery in which everything takes place, at times lingered upon for emphasis. Three instances of many come to mind: the opening shot of the duel in which Barry’s father is killed, the castle-like spa (Hohenzollern Castle) where Barry meets Lady Lyndon, and a panoramic vista of the countryside that could be a poster titled, “This England”. There are instances of reverse closeups as well as distance shots all seeming to point to the fact that all these human machinations occur in a world of immense, if uncaring, beauty. The narrator was another issue with many. There is a school of thought that films should be free of any narrative technique except action itself (with critical allowance often given for film noir). Here the narrator gives much detail that an audience would hardly be expected to know and without him (Michael Hordern) they would be out to sea. Imagine “The Age of Innocence” without the voice of Edith Wharton (Joanne Woodward) explaining just who the Van der Luydens were or what their china signified. Showing all this with only action would illuminate nothing. Besides, here the narrator provides a certain detached attitude, even to the extent of telling us what is about to happen, which keeps us in an eighteenth century frame of mind where this is all a somewhat ironic moral tale. Distance was another eighteenth century attitude, a philosophical distance that kept civilized decorum and banished base emotions. The story is really Kubrick’s own, based on an obscure early Thackary novel, itself partially based on a roguish fortune hunter (Andrew Robinson Stoney) who horribly mistreated the Countess of Strathmore once they were married. Barry is no such scoundrel as Stoney, but he is very flawed. He does what he can to survive as fate tosses him from Ireland to Prussia to England, frequently taking on assumed identities to get by. You can’t quite say he’s living by his wits, because most of his changes in circumstance happen to him, a passive recipient of fate or luck. Still, three important moments arise from his sometimes uncontrollable emotions. What are we to think of Barry, not so bright, willing to cheat when necessary and pursuing Countess Lyndon only for her money and status? The narrator provides a clue, as his ironic detachment sometimes slips and he shows sympathy and fondness for him. We can’t forget that he saved Captain Potzdorf, truly loved his son and acted nobly in the duel with Lord Bullingdon. Ryan O’Neal was a surprise pick to play this central role, a young Hollywood actor who had risen out of television’s “Peyton Place” and moved into films with “Love Story” and two popular Peter Bogdanovich comedies. He seemed to some, out of his depth in a Kubrick film, but I believe Kubrick, who advised the actor throughout, got just the performance he wanted. Though some found O’Neal rather blank, that’s what Barry is supposed to be - a man to whom things just happen. O’Neal is stolid throughout and personifies this not so bright character who is moved here and there by chance. In a film with even the most minor characters pitch perfect, two particularly stand out. Murray Melvin, who first appeared in “A Taste of Honey” (1961) and was a familiar face in several Ken Russell films is wonderful as the pious, perceptive but somewhat ineffective Reverend Samuel Runt, spiritual advisor to Lady Lyndon and tutor to her son, Lord Bullingdon. He distrusts Barry from the beginning, giving him hard looks at the gambling tables, proceeds over their marriage without warmth or approval and doesn’t correct Lord Bullingdon’s assertion that Barry is “a common opportunist”. He’s devoted to Lady Lyndon and even offers to work without salary if that’s necessary, but Melvin’s expressions can turn on a dime from sanctimonious piety to sinister and conspiratorial, making the character more complex and the audience unsure of his motives. Leon Vitali is almost frighteningly both cold and angry, menacing and palpably terrified during the duel with Barry. He really wanted to work behind the scenes and later became Kubrick’s assistant. This surpassingly beautiful film is accompanied by well-chosen music. As was his choice beginning with “2001: a Space Odyssey”, Kubrick chose classical music and chose it for its effect, as some of it (Schubert) was written long after the time period of the film. The Piano Trio no.2 with its persistent rhythm is used to accompany movement, as when Barry goes out to see Countess Lyndon on the moonlit terrace and at other times as a “fate” theme at times of change in the film. The little known German Dance no.1 from a suite of dances has a waltzlike tempo and charming melody that accompanies Barry’s better times as the husband of Lady Lyndon. Handel’s D-minor Sarabande is the primary fate motif, but it is mostly used in a subtle way, at one point just its rhythm on percussion. It announces really big changes in fate and a powerful orchestral version accompanies the end credits. It’s good it is to see this film be finally recognized as the magnificent accomplishment that it is.

One either loves or hates Stanley Kubrick's films but for one to whom this is his favourite director I can only describe my fondness for the majority of his works of which this ranks among my favourites. For me Kubrick was always a master artist except that painted with the still-picture camera or the moving picture camera. The way he frames his shots makes me feel like I'm at a major art museum watching masterpiece painting after masterpiece painting go by as I sit. I get this feeling throughout all his movies but especially so here in this film which makes this effect even more pronounced with shots that mirror actual paintings that are sometimes shown on the walls of the sets. This film is a masterpiece of lighting and has to rank among the most authentic-looking and hence the best period piece movies ever made and I can't help but feel the movie "Amadeus" also was inspired by this film. Kubrick's films consistently represent the pinnacle of various film genres; anyone ever seen a list of best ever sci-fi films without "2001: A Space Odyssey" or "A Clockwork Orange" on it? How about a best ever comedy film list without "Dr Strangelove" or best horror list without "The Shining" or best gladiator movie without "Spartacus?" "Barry Lyndon" though as his longest film does require patience on the part of the viewer to fully reap the rewards on offer. For me the 185 minutes flew by as I was fully absorbed in taking in the colours and wonderful choices of frames that only a genius like Kubrick can come up with. This Criterion release is a treat for fans as it represents the best version of this film on blu ray that is currently out there; the 1:66 aspect ratio is what Kubrick wanted and the surround sound option is a real plus. Also included is a 44-page glossy colour booklet containing essays on the film. The 2 discs containing the film and the special features are nicely packaged in a slim plastic case and represents yet another great Criterion release. Highly recommended!

The best film by a man who stands among the very highest echelon of American artists. Barry Lyndon is Kubrick's best work . This film does for color cinematography what Citizen Kane did for monochrome. Unlike other Criterion releases, previous releases of Barry Lyndon were never lacking. There is no denial that this is probably the best this masterpiece will ever look. The candlelight shines like the sun though a church window. The blacks are truly black, and there is no image noise even on the best OLED 4k screens. In the correct aspect ratio for the first time, Criterion devoted an entire 2nd disc for the special features so as to fit the nearly uncompressed film on one disc. The features are worth watching, though features and overall packaging is decidely not as interesting or insightful as Dr. Strangelove or even The Killing. The cover art is not exactly original but is pleasing enough. This is no Moonrise Kingdom, but there are some interesting technical details in the accompanying booklet. I cannot decide if the long essay is a parody of the slow pace of the film, but you won't be reading it when the movie hits your screen. Barry Lyndon, like Citizen Kane, is the product of an American polymath at the apex of his artistic and technical skill. It is the best period piece ever filmed. Barry Lyndon is the rare film that dares to defy your attention, with it's exaggerated 18th century courtly pace. It is a 3 hour waltz with an unreliable narrator and in perfect timing to some of the most iconic classical music in the western cannon. Just buy the damn thing.

Folks who've seen this film in earlier formats probably won't be surprised to hear that it's gorgeous in 4K. Nearly every shot in the film is like a painting.

Best possible presentation of a really great and unappreciated Kubrick film. If you love Kubrick but can’t shell out the $ for the Complete Kubrick, give this a purchase.

...for all the glorious ephemera of a gilded age. Sadly ignored during our Bicentennial Year, which, no doubt, Stan was counting on to help spur interest in his magnificently poetic period piece: During some of the 10 times I viewed BL between January and April 1976 I was practically alone in the theater - not a bad experience, actually. Anyway, those of us who got it then finally now have the transfer that we have been deserving for decades. Clean, subtle colors and gentle contrast; smooth grain (for a pushed 200 ISO) easeled in the full aspect ratio that lovingly presents all this historical fantasia's splendid slow dreamy softness. And the sound is exceptionally improved. Criterion got that part right. But, if you are already a convert, and have seen BL many times already, then, like me, you need to know: WHAT ABOUT THE (way overdue) SPECIAL FEATURES?! Here, as usual, Criterion is rather lackluster. Good stuff: Included booklet with a first rate essay by Geoffrey O'Brien, worthy to be included on The Kubrick Site. Two 1976 articles from American Cinematographer; readily available online, but nice to have in hand again. Also, the only time that DP John Alcott is adequately given his due - barely mentioned in the videos! A quite decent Making Of documentary. Excellent piece with editor Tony Lawson, though it should have been longer. "I have not received satisfaction.": No interview with O'Neal or Berenson. What anecdotes and insights they could have provided! Michael Hordern and his incomparable narration is unjustly minimized. How interesting it would have been to learn more about how those wonderful voice overs were arrived at; Hordern deserves to be considered one of the stars of the film. Disappointing cinematography piece. Should have come with subtitles considering how unintelligible some of the crew are. Simply underwhelming in its lack of technical detail, considering how uniquely important all these aspects were to such a ground breaking work of cinematic art. Michel Ciment ramblingly condescends to explain to us what he thinks that even Kubrick himself probably did not understand about his own creation. Typical Criterion propeller-head. Art curator Adam Eaker likewise clues us in, while managing to confuse a Gainsborough for a Reynolds. Okay, for what it's worth. Hardly anything interesting about the costuming. No doubt I have been spoiled by the gold standard of special features that Peter Jackson and some others provide. But I simply cannot leave without noting that this has been a decidedly UN-Kubrickian aspect, and fault, of practically every single video transfer of Stan's work. Who in the Kubrick Estate is to blame for this shameful lack? In any event, this is the best we will get, until someone someday puts together a truly comprehensive Making of Barry Lyndon documentary (feature length). Then might I obtain satisfaction.

Barry Lyndon looks spectacular in this 2 disc Criterion Collection Blu Ray release.

First the movie: 5 stars It's a Technical marvel and contains a delicious story I dare not spoil. It's 3 hours, watch it in a Dark room and be in the mood for a slow (in a good way) historical drama. The Blu Ray: On disc 1 Criterion (as usual) did a superb job with the 4k transfer and actually got the correct aspect Ratio of 1:66:1 (unlike previous dvd/blu ray releases). The wonderful transfer is the best Kubrick could have asked for and shows off his brilliance with amazing detail. And disc 2 is stuffed with extra features that are excellent watching material for fans and new comers of the film. Including interviews with cast/crew, a q976 interview of Kubrick himself. If you buy any version, buy this blu-ray. At $26 it's worth every penny.

Posiblemente de la mejor película de Stanley Kubrick después de 2001: Odisea del espacio. La restauración en 4K es excelente.

Masterpiece

I recently purchased the criterion of Barry Lindon. Simply beautiful and full of wonderful details. A must for film lovers and Kubrick nut bags.

I’ve been waiting for a Lyndon release with extras for a long time. This was worth the wait. Gorgeous print, one of my favourite films has never looked more beautiful and ironic. Please do Lolita now.

A must watch. A jornet thru time using colors and shapes.