Barry Lyndon

A slowly unfolding, utterly unpredictable, and almost intimate story of one man who greatly influenced the fates of many people. Kubrick presents his most magnificent work cautiously, perhaps somewhat unevenly, but every, even the smallest scene, has its justification in the final outcome. Furthermore, he chose the perfect actor, Ryan O'Neal, for the main role, who showcased his acting skills the most in gradually escalating scenes of a card game or interrupted concert. The narrator, however, remains a flaw, as while filling in the gaps nicely, their guiding speeches harm the tension of the unfolding events. (21/04/2006)

It will be all praise, but what else can be said about a film that, despite its three-hour runtime, I devoured like a raspberry? The composition of the images, the thoughtful use of colour and contrast, the perfect choice of interiors and exteriors, the magnificent cinematography, the well-chosen period music; even the costume designers did their best. All this for the pleasure of the eye, which grazes heartily for three hours. And on top of that, a slightly sarcastic story that draws the viewer in and doesn't let go until the closing credits. There’s no risk of boredom... After Dr Strangelove, my second favourite Kubrick film. (05/10/2004)

Sometimes you're down, sometimes you're up. This saying perfectly captures the life adventures of Redmond Barry, who, starting as a poor Irish peasant, manages to ascend to the position of a noble title owner and a welcomed visitor in the households of the highest social circles. However, the means he chooses for his ascent are not exactly kosher, and hence the change of name and identity comes in handy. It is often said that you reap what you sow. Stanley Kubrick was known for his precision bordering on obsession and megalomania. He meticulously cared for every detail, had costumes and accessories made according to historical sketches, and selected locations carefully, and from the perspective of a fan of the historical genre, it is hard to find fault with him. In the case of Barry Lyndon, perhaps more so than in other Kubrick films, his ability to create visually stunning images with perfect color execution and composition shines. The panoramic shots of landscapes, estates, army camps, and battles are a feast for the eyes, just as the viewer's ears are pleased by the precise selection of music from different genres that characterizes various social environments and creates the mood. Barry Lyndon signifies the same for capturing the atmosphere of the second half of the 18th century as Amadeus does for the Rococo period and Marketa Lazarová does for the early Middle Ages. Overall impression: 95%. (07/08/2018)

The third time’s the charm. While it's a nice chapter in the history of film on the subject of lighting, and I'd love to read William Makepeace Thackeray's novel someday, if the scene of finding the bow in the cleavage doesn't work, there's something wrong with the film. That something is called Kubrick. Hooray! And we clap and we high-five. While we do not enjoy the realities of the 18th century, for which of course we have no understanding, we do enjoy the compositions and the anti-hero, and like monkeys, we adopt the lessons of the divine auteur who is so familiar to us. (22/03/2013)

An epic tale that follows the life of Redmond Barry, who became Barry Lyndon, I loved it in every way, but I'd highlight the engaging cinematography, the great period music, and the impeccable costumes and hairstyles. But the actors didn't slack off either. Ryan O'Neal's performance in particular is stunning. It's incredible how a long and, above all, stable and sensible story can be told in a three-hour running time. And master Stanley Kubrick managed to do it with panache. In short, a film with everything, offering the audience a whole range of genres. (19/03/2011)