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Barry Lyndon (contains spoilers)
I feel that Barry Lyndon has the most uniquely interesting take on director Stanley Kubrick’s recurring theme of dehumanization. What makes it so unique, not to mention darkly funny, is that Barry's efforts to regain his humanity and sense of purpose after his father's duel loss took it from him constantly have the opposite effect. From enlisting in two different and opposing armies to pretending to be familiar with art history, Barry eventually makes his way into the upper echelons of society, but the sad irony that he learns too late is that these echelons are pretty damn barbaric. This irony permeates the movie, most notably in its visuals, which may be the most pleasant to look at in any movie ever made. While nearly every frame resembles a Neoclassical painting, the deceptions of Barry, Lord Bullingdon and, well, those of almost everyone else Barry comes across paints each one in an ominous light. There is even irony to be found in the movie's length. While it’s over three hours, you could say that this is an anti-epic; for instance, its most impactful moments are subtle and/or instantaneous. From Lord Bullingdon's expressions of love for his mother to that brief pause Lady Lyndon makes before signing the papers for Barry's allowance to of course Barry's shot at the floor, they leave impressions that are as deep if not more than the battles, their preceding speeches, etc. that are trademarks of the epic. As for Barry, Ryan O'Neal ably makes him out to be a definitive anti-hero. To be fair, I have not seen the actor in much, and I don't know if it's his limited expressiveness or that he's cast in roles for which he is not ideal like The Driver, but he's an actor who is hard for me to like. That quality makes him a good fit for Barry, who is comically hard to like and whose blankness in response to his lavish lifestyle hardly indicates that it is giving him any kind of fulfillment. Choosing a favorite Kubrick movie is as difficult as choosing a favorite child, but with its sumptuous yet dark beauty, its equally dark comedy and its distinctive exploration of dehumanization, Barry Lyndon is my choice. I also give it credit that even though it displays little to no virtues, it so expertly expresses the belief that the virtuous life is best.
I feel that Barry Lyndon has the most uniquely interesting take on director Stanley Kubrick’s recurring theme of dehumanization. What makes it so unique, not to mention darkly funny, is that Barry's efforts to regain his humanity and sense of purpose after his father's duel loss took it from him constantly have the opposite effect. From enlisting in two different and opposing armies to pretending to be familiar with art history, Barry eventually makes his way into the upper echelons of society, but the sad irony that he learns too late is that these echelons are pretty damn barbaric. This irony permeates the movie, most notably in its visuals, which may be the most pleasant to look at in any movie ever made. While nearly every frame resembles a Neoclassical painting, the deceptions of Barry, Lord Bullingdon and, well, those of almost everyone else Barry comes across paints each one in an ominous light. There is even irony to be found in the movie's length. While it’s over three hours, you could say that this is an anti-epic; for instance, its most impactful moments are subtle and/or instantaneous. From Lord Bullingdon's expressions of love for his mother to that brief pause Lady Lyndon makes before signing the papers for Barry's allowance to of course Barry's shot at the floor, they leave impressions that are as deep if not more than the battles, their preceding speeches, etc. that are trademarks of the epic. As for Barry, Ryan O'Neal ably makes him out to be a definitive anti-hero. To be fair, I have not seen the actor in much, and I don't know if it's his limited expressiveness or that he's cast in roles for which he is not ideal like The Driver, but he's an actor who is hard for me to like. That quality makes him a good fit for Barry, who is comically hard to like and whose blankness in response to his lavish lifestyle hardly indicates that it is giving him any kind of fulfillment. Choosing a favorite Kubrick movie is as difficult as choosing a favorite child, but with its sumptuous yet dark beauty, its equally dark comedy and its distinctive exploration of dehumanization, Barry Lyndon is my choice. I also give it credit that even though it displays little to no virtues, it so expertly expresses the belief that the virtuous life is best.