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All good : Tom, Feb Folks if you haven't tried speed dating, just go! Met 8 lovely sound guys in one evening and ticked 3 boxes : Hopefully, someone will tick mine! Linda August Barry kept his word and never returned to England or ever saw Lady Lyndon again. The final scene set in December shows a middle-aged Lady Lyndon signing Barry's annuity cheque as her son looks on. Critic Tim Robey suggests that the film "makes you realise that the most undervalued aspect of Kubrick's genius could well be his way with actors. The cast featured Leon Vitali as the older Lord Bullingdon, who then became Kubrick's personal assistant , working as the casting director on his following films, and supervising film-to-video transfers for Kubrick.

Their relationship lasted until Kubrick's death. The film's cinematographer, John Alcott , appears at the men's club in the non-speaking role of the man asleep in a chair near the title character when Lord Bullingdon challenges Barry to a duel. Kubrick's daughter Vivian also appears in an uncredited role as a guest at Bryan's birthday party. Stone went on to feature in The Shining. After completing post production on A Space Odyssey , Kubrick resumed planning a film about Napoleon.

During pre-production, Sergei Bondarchuk and Dino De Laurentiis ' Waterloo was released, and failed at the box office. Reconsidering, Kubrick's financiers pulled funding, and he turned his attention towards an adaptation of Anthony Burgess 's novel A Clockwork Orange. Subsequently, Kubrick showed an interest in Thackeray's Vanity Fair but dropped the project when a serialised version for television was produced. He told an interviewer, "At one time, Vanity Fair interested me as a possible film but, in the end, I decided the story could not be successfully compressed into the relatively short time-span of a feature film Having earned Oscar nominations for Dr.

Strangelove , A Space Odyssey and A Clockwork Orange , Kubrick's reputation in the early s was that of "a perfectionist auteur who loomed larger over his movies than any concept or star". Having felt compelled to set aside his plans for a film about Napoleon Bonaparte, Kubrick set his sights on Thackeray's " satirical picaresque about the fortune-hunting of an Irish rogue," Barry Lyndon , the setting of which allowed Kubrick to take advantage of the copious period research he had done for the now-aborted Napoleon. Principal photography lasted days, from spring through to early , with a break for Christmas.

Jan Harlan recalls that Kubrick "loved his time in Ireland - he rented a lovely house west of Dublin, he loved the scenery and the culture and the people". Several of the interior scenes were filmed in Powerscourt House , an 18th-century mansion in County Wicklow , Republic of Ireland. The house was destroyed in an accidental fire several months after filming November , so the film serves as a record of the lost interiors, particularly the "Saloon" which was used for more than one scene. The Wicklow Mountains are visible, for example, through the window of the saloon during a scene set in Berlin.

Some exterior shots were also filmed at Waterford Castle now a luxury hotel and golf course and Little Island, Waterford. Moorstown Castle in Tipperary also featured. Tipperary, and at Youghal , Co. The filming took place in the backdrop of some of the most intense years of the Troubles in Ireland, during which the Provisional Irish Republican Army Provisional IRA was waging an armed campaign in order to bring about a United Ireland. On 30 January while filming in Dublin City's Phoenix Park shooting had to be cancelled due to the chaos caused by 14 bomb threats.

One day a phone call was received and Kubrick was given 24 hours to leave the country, he left within 12 hours.

The phone call alleged that the Provisional IRA had him on a hit list and Harlan recalls "Whether the threat was a hoax or it was real, almost doesn't matter Stanley was not willing to take the risk. He was threatened, and he packed his bag and went home" [6] [5].

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The film—as with "almost every Kubrick film"—is a "showcase for [a] major innovation in technique. To achieve photography without electric lighting "[f]or the many densely furnished interior scenes… meant shooting by candlelight ," which is known to be difficult in still photography , "let alone with moving images. Kubrick was "determined not to reproduce the set-bound, artificially lit look of other costume dramas from that time.

Although Kubrick and Alcott sought to avoid electric lighting where possible, most shots were achieved with conventional lenses and lighting, but were lit to deliberately mimic natural light rather than for compositional reasons. In addition to potentially seeming more realistic, these methods also gave a particular period look to the film which has often been likened to 18th-century paintings which were, of course, depicting a world devoid of electric lighting , in particular owing "a lot to William Hogarth , with whom Thackeray had always been fascinated.

The film is widely regarded as having a stately, static, painterly quality, [9] mostly due to its lengthy wide angle long shots. To illuminate the more notable interior scenes, artificial lights called "Mini-Brutes" were placed outside and aimed through the windows, which were covered in a diffuse material to scatter the light evenly through the room rather than being placed inside for maximum use as most conventional films do.

An example of this method occurs in the scene where Barry duels Lord Bullingdon. Though it appears to be lit entirely with natural light, one can see that the light coming in through the cross-shaped windows in the tithe barn appears blue in color, while the main lighting of the scene coming in from the side is not. This is because the light through the cross-shaped windows is daylight from the sun, which when recorded on the film stock used by Kubrick showed up as blue-tinted compared to the incandescent electric light coming in from the side.

Despite such slight tinting effects, this method of lighting not only gave the look of natural daylight coming in through the windows, but it also protected the historic locations from the damage caused by mounting the lights on walls or ceilings and the heat from the lights. This helped the film "fit… perfectly with Kubrick's gilded-cage aesthetic — the film is consciously a museum piece, its characters pinned to the frame like butterflies.

The film's period setting allowed Kubrick to indulge his penchant for classical music, and the film score uses pieces by Bach , Vivaldi , Paisiello , Mozart , and Schubert. Originally for solo harpsichord , the versions for the main and end titles are performed with orchestral strings, harpsichord, and timpani.

The film "was not the commercial success Warner Bros.

This mixed reaction saw the film in the words of one retrospective review "greeted, on its release, with dutiful admiration — but not love. Critics… rail[ed] against the perceived coldness of Kubrick's style, the film's self-conscious artistry and slow pace.

Audiences, on the whole, rather agreed…" [9]. Roger Ebert gave the film three-and-a-half stars out of four and wrote that the film "is almost aggressive in its cool detachment. It defies us to care, it forces us to remain detached about its stately elegance.

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Kubrick has taken a novel about a social class and has turned it into an utterly comfortable story that conveys the stunning emptiness of upper-class life only years past. It is ravishingly beautiful and incredibly tedious in about equal doses, a succession of salon quality still photographs—as often as not very still indeed. It would be more at home, and perhaps easier to like, on the bookshelf, next to something like 'The Age of the Grand Tour ,' than on the silver screen. This "air of disappointment" [9] factored into Kubrick's decision for his next film, an adaption of Stephen King 's The Shining , a project that would not only please him artistically, but was more likely to succeed financially.

In recent years, the film has gained a more positive reaction.

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The website's critical consensus reads, "Cynical, ironic, and suffused with seductive natural lighting, Barry Lyndon is a complex character piece of a hapless man doomed by Georgian society. It is certainly in every frame a Kubrick film: technically awesome, emotionally distant, remorseless in its doubt of human goodness. Director Martin Scorsese has named Barry Lyndon as his favourite Kubrick film, [29] and it is also one of Lars von Trier 's favourite films. In a list compiled by The Irish Times critics Tara Brady and Donald Clarke in , Barry Lyndon was named the greatest Irish film of all time, despite its "Irish" provenance being questionable it was made by a British production company and had an American director.