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Barry Lyndon [Blu-ray] (Sous-titres franais) (Bilingual)


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Product Details

  • Actors: Ryan O'neal, Marisa Berenson, Patrick Magee, Steven Berkoff, Marie Kean
  • Directors: Stanley Kubrick
  • Writers: Stanley Kubrick
  • Format: NTSC, Subtitled
  • Language: English, French
  • Region: Region A/1
  • Aspect Ratio: 1.85:1
  • Number of discs: 1
  • Canadian Home Video Rating : Ages 14 and over
  • Studio: Warner Bros. Home Video
  • Release Date: May 31 2011
  • Run Time: 184 minutes
  • Average Customer Review: 4.2 out of 5 stars  See all reviews (61 customer reviews)
  • ASIN: B004VT39KY
  • Amazon Bestsellers Rank: #7,503 in DVD (See Top 100 in DVD)

Product Description

Product Description

Barry Lyndon (BD)

Amazon.ca

In 1975 the world was at Stanley Kubrick's feet. His films Dr. Strangelove, 2001: A Space Odyssey, and A Clockwork Orange, released in the previous dozen years, had provoked rapture and consternation--not merely in the film community, but in the culture at large. On the basis of that smashing hat trick, Kubrick was almost certainly the most famous film director of his generation, and absolutely the one most likely to rewire the collective mind of the movie audience. And what did this radical, at-least-20-years-ahead-of-his-time filmmaker give the world in 1975? A stately, three-hour costume drama based on an obscure Thackeray novel from 1844. A picaresque story about an Irish lad (Ryan O'Neal, then a major star) who climbs his way into high society, Barry Lyndon bewildered some critics (Pauline Kael called it "an ice-pack of a movie") and did only middling business with patient audiences. The film was clearly a technical advance, with its unique camerawork (incorporating the use of prototype Zeiss lenses capable of filming by actual candlelight) and sumptuous production design. But its hero is a distinctly underwhelming, even unsympathetic fellow, and Kubrick does not try to engage the audience's emotions in anything like the usual way.

Why, then, is Barry Lyndon a masterpiece? Because it uncannily captures the shape and rhythm of a human life in a way few other films have; because Kubrick's command of design and landscape is never decorative but always apiece with his hero's journey; and because every last detail counts. Even the film's chilly style is thawed by the warm narration of the great English actor Michael Hordern and the Irish songs of the Chieftains. Poor Barry's life doesn't matter much in the end, yet the care Kubrick brings to the telling of it is perhaps the director's most compassionate gesture toward that most peculiar species of animal called man. And the final, wry title card provides the perfect Kubrickian sendoff--a sentiment that is even more poignant since Kubrick's premature death. --Robert Horton --This text refers to an out of print or unavailable edition of this title.


Customer Reviews

4.2 out of 5 stars

Most helpful customer reviews

2 of 2 people found the following review helpful By Jeffrey Leach on June 9 2004
Format: DVD
When director Stanley Kubrick lensed a film based on William Makepeace Thackeray's novel "Barry Lyndon," many fans wondered why. Why would a man who made the science fiction classic "2001: A Space Odyssey," a film set in the future about man's move into outer space, go so far into the past to film a story about a guy social climbing his way through the nineteenth century English aristocracy? Good question. Fortunately, the answer, if there is one, isn't nearly as important as the fact that Kubrick made the film. "Barry Lyndon" may well rank as the finest piece of cinematic art made in the last thirty years. I personally love watching period piece films, and this movie ranks at the very apogee of the pictures from the genre that are often made but rarely successful. The only other film I have seen that matches Kubrick's eye for detail and flair for style is Eric Rohmer's "The Marquise of O," another film lifted from the pages of an early nineteenth century writer. Both of these men, but especially Kubrick, seemed to realize that the only way we can understand the distant past is to look closely at the things they left behind. Therefore, "Barry Lyndon" borrows heavily from paintings, letters, and accounts of the era. It's very difficult to spot an anachronism in this film. The movie has a timeless, ageless feel most other period pictures fail to capture.
The story follows the trials and travails of an Irishman named Redmond Barry (Ryan O'Neal). Born into poverty on a small farm, Barry first runs into trouble during his teens when he falls in love with his cousin. The family seeks to remove young Redmond from the picture because an English officer, a Captain Quinn, has taken a shine to the girl.
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1 of 1 people found the following review helpful By Continental Op on March 28 2004
Format: DVD
"Barry Lyndon" is Stanley Kubrick's forgotten "masterpiece". Sandwiched chronologically between "A Clockwork Orange" (1971) and "The Shining" (1980), it has received less adulation from the press and public than some of Kubrick's other triumphs ("Dr. Strangelove"; "2001: A Space Odyssey") and did poorly at the box office upon its initial release in 1975.
Based on the 1844 William Makepeace Thackeray novel "The Luck of Barry Lyndon" (with some of the usual artistic liberties that Kubrick often took with his adaptations of books) this film follows the travails of Redmond Barry, an 18th century, hot-headed, charmingly unscrupulous Irish rapscallion who will stop at nothing to join the ranks of the British aristocracy.
Through a series of mishaps and misadventures, we follow Barry from his native Ireland through the Seven Years' War (1756-63), through the grand gambling palaces of Europe where he eventually woos and marries the beautiful and wealthy Lady Lyndon and adopts her name, much to the chagrin of her son Lord Bullingdon, who vows never to let Barry achieve his dream of joining the gentry.
Kubrick's ace-in-the-hole is his D.P. John Alcott who deservedly won an Oscar for Best Cinematography. Shot in Ireland, Germany and England, the viewer constantly gets the feeling of viewing a classic 18th century painting. It never gets dull watching the absolute beauty of this film, and I personally marvelled at all the hard work that must have gone into making it.
The music is also wonderful, as Kubrick once again shows excellent taste in which music fits a particular scene.
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By Dean Noble on April 3 2009
Format: DVD
I first watched this movie years ago, when I was 25 years old. When I first saw it, I was shocked at the sheer epic monumental beauty of the images. I knew that this was no ordinary movie.
This is an arthouse Felliniesque depiction of the 17th Century. The movie is based on the William Makepeace Thackeray, writer of The Book of Snobs, novel Barry Lyndon.
The film starts with gritty picaresque beginnings at a squalid upcountry house. Then the movie simultaneously escalates the viewer and main character Barry Lyndon, into the houses of the extremely rich.
Mean sticks of furniture are replaced with Baroque roccoco finery and seventeenth Century chamber music.
Replete with the famous epic Kubrickian pullaway camera shots that he liked, Barry Lyndon is The Hundred Years War meets Hollywood.
Barry meets his Faustian demise as the denouement of the movie takes us down to a resolution point of poverty and a loathesome and debauched life of penury and destitution.
.....worth a watch!
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By H. Lim on June 30 2004
Format: DVD
Barry Lyndon is traditionally seen as Stanley Kubrick's weakest film. Yet a certain number of newer reviewers - and Martin Scorsese - are only now beginning to see that this film has been terribly underrated.
When I first saw this movie I sided very much with those who believed the film to be pointless eye candy. I couldn't see any point to this movie, which seemed to consist of more or less random events with no real beginning or end, and nothing worth remarking on in between.
Of course, years later I began having flashbacks of this movie, and was sorely tempted to buy the DVD, a purchase I finally made (the DVD is very good).
"Barry Lyndon" is as much a Greek tragedy as Godfather Part II or the second half of Gone with the Wind. Here Barry Lyndon is trapped by fate, after a series of events set off by aspects of his own character. His very attempts to make himself still richer, towards the end of the film results in an awful mess that is suspiciously reminiscent of Gone with the Wind. I think Margaret Mitchell may possibly have read the novel.(*spoiler!* Hmm, where have I seen a child falling off a horse before?)
Barry Lyndon, as a nouveau riche social climber desperately trying to find what we would call "the American Dream" is strangely modern as a figure. The story of his rise and fall is like that of any modern, money-hungry social climber, and is quite relevant to our present world.
At any rate, the film is also a masterpiece of atmosphere and style. The care with which the film was made was clearly excruciating, with scenes as carefully plotted out and filmed as any oil painting. Despite Kubrick's reputation as a rather emotionless director, there are plenty of funny scenes.
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