Barry Lyndon (1975)

Barry Lyndon (Barry Lyndon, 1976) – Recensione di Tullio Kezich

Barry Lyndon mette in scena una società violenta, ferocemente classista, dove l’avventuriero gode di una libertà effimera e viene presto emarginato e distrutto. Arricchito dalla più bella fotografia che si sia vista al cinema, il film comunica con stoicismo un sentimento amaro dell’esisten­za e della storia.

Kubrick and His Discontents – by Hans Feldmann

Since the recognized success of Dr. Strangelove, objections to Kubrick’s obscurity, his enigmatic mind, his bleak view of man, his simplistic view of life, his boring mannerisms abound in the reviews of his films. Barry Lyndon seems destined to encourage the same ambivalent critical reaction.

BARRY LYNDON – di Enrico Ghezzi [Il Castoro Cinema]

Barry Lyndon non ha bisogno di chiamarsi Settecento. Se il titolo in Bertolucci indica l’intenzione astratta di definire storicamente quello che – dalla schematica situazione iniziale – si è riproposto come un film dai personaggi classici e «umani»; un film in cui della grandezza e casualità della Storia c’è solo la fluvialità del tempo e l’ampiezza della produzione (la storia economica del film), in Kubrick il nome – come si accennava – deve definire lo sparuto soggetto che è protagonista.

THE PLUCK OF ‘BARRY LYNDON’ – REVIEW BY JONATHAN ROSENBAUM

So Barry Lyndon is a failure. So what? How many “successes” have you seen lately that are half as interesting or accomplished, that are worth even ten minutes of thought after leaving them? By my own rough count, a smug little piece of engineering like A Clockwork Orange was worth about five. I’m reminded of what Jonas Mekas wrote about Zazie several years ago: “The fact that the film is a failure means nothing. Didn’t God create a failure, too?”

‘Barry Lyndon’: Kubrick’s Latest Has Brains And Beauty

Barry Lyndon is a leisurely, serious, witty, inordinately beautiful, premium-length screen adaptation of William Makepeace Thackeray’s first novel, The Memoirs of Barry Lyndon, Esq., published in 1844 and set in the second half of the 18th century.

BARRY LYNDON: SETTECENTO – RECENSIONE DI ENZO UNGARI

Lontano dal cinema di formule e procedimenti a cui rimanda soltanto per la sua mole produttiva, Barry Lyndon si situa in quella zona dove il cinema è invenzione, ricerca, esperimento. Ma dove tutti, coraggiosamente e confusamente, cercano, Stanley Kubrick trova. Non domanda, risponde.

NOTES ON SEEING ‘BARRY LYNDON’ – by Harold Rosenberg

Kubrick’s Barry Lyndon is a lot more than a substitute for an allbutforgotten tale. The movie also translates the printed page into art for the eye and the ear by coordinating the story with the paintings, music and landscaping of the period

KUBRICK’S ANTI-READING OF THE LUCK OF BARRY LYNDON

Since the completion of 2001: A Space Odyssey, Stanley Kubrick has repeatedly suggested that his films are inapplicable to verbal formulations. “I tried to create a visual experience,” he said of 2001 in 1968, “one that bypasses verbalizing pigeonholing and directly penetrates the subconscious with an emotional and philosophical content…