Barry Lyndon

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)

Even though one might think that this will be an unbelievable boredom, that even Kubrick couldn't accidentally direct, the Master once again proves that this is a film that captivates. Even though it's not action-packed, you will still be on the edge of your seat, whether it's because it's entertaining, dark, intimate, and sometimes simply sexy, albeit in its own way. Those three hours will go by quite quickly. (02/03/2015)

An ineffable experience that can only be matched in my life as a spectator by Fanny and Alexander from Master Bergman's magic workshop. Especially from a visual point of view, it is one long timeless orgasm, sometimes obsessively ornamental (exactly in relation to the time when the story takes place), otherwise rurally simple and natural... Barry Lyndon is the embodiment of the European school of film storytelling... notice the mastery with which Kubrick uses the narrator's voice for epic abbreviations, light sarcasm, the way in which the narrator manipulates the viewer's perspective of the story. From the opening light joke and lively passages to the prediction of the tragic ending. The music changes according to the mood – from the jumpy Irish folk songs, through the British marches, to fateful strings and timpani. Barry Lyndon's story is the story of one wonderful human destiny, the story of a man who has always tried to break through as best he can. His journey full of tricks, small lies, deceptions, hypocrisy and, of course, love, leads to tragic catharsis. Kubrick chose the slow pace typical of the film 'saga' of life. The slowness of the film is described by many as a negative; yet it is not a negative, but rather a characteristic feature of the film. I love this slowness, the feeling, the honesty of filmmaking. Barry Lyndon is made from it, just like it's made from Ryan O'Neal's riveting performance. To live a human life in one role is an art worthy of a master. This epic has not only extraordinary and unrepeatable visual magnetism, but it is also extraordinarily powerful in its story. It's just necessary to go with it a little bit and then just get carried away by the strange kindness and magic of beautiful moving pictures. Barry Lyndon is the best I've seen from Kubrick so far. It's a conservative film in the best sense of the word. A timeless gem. (04/10/2004)

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%. (06/08/2018)

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. (20/04/2006)