"Barry Lyndon" Explores The Life of a Social Climber--Why Was It a Good Film?

Stanley Kubrick brought a decidedly different movie to his previous one in 1971 that was a refinement, an elegant and stately grand old film. Barry Lyndon is based on William Makepeace Thackeray’s novel of the 19^th century. The story is set a century earlier, during the seven-year war, when France invaded England.

Redmond Barry is the key character, whose name is later changed to Barry Lyndon when he joins the aristocracy. But from humble beginnings in Ireland, he is regarded as a “boy” without money. He falls in love with Norah (Gay Hamilton) which sets Barry’s life trajectory as a social climber in motion...

Without Barry having prospects, Norah turns her attentions elsewhere. This raises Barry's ire. He leaves Ireland by way of joining the army and turns his sights to accruing a fortune, even if it means walking all over people…

Critique

There is one sexual scene that may be shocking but is intended as art rather than pornography. However, the scene is not recommended for youthful audiences though may be a skip of a pebble over a pond. It just come and goes without saying.

Otherwise, the characters are well defined and their relationships to each other are well etched—mother and son, father and son, rogue and accomplice, subordinate and authority, etc. While the performances are pitch perfect. Marisa Berenson as Lady Lyndon gives a subdued performance but smolders underneath, pointing rather subtly to the tensions and rifts between her and Barry which reach a devastating climax. She conveys emotion through nuance and subtlety and on one occasion extremity. We have an emotional connection to the key character, something the director has skillfully manipulated—though this character is rather morally dubious. But the emotion becomes one of ambiguity in the end.

The film has a lot of period detail, in costumes and production design, and the production quality is detailed and precise, carefully crafted into an outstanding work.

A rather subtle, observant, and involving film. The narrator fills the viewer in with just enough detail to keep the story marinating. One is taken on a remarkably drawn journey through rags to riches and down again and how one man is the catalyst for a house’s demise and cause to rebuild again. Fascinating and so well done.

If only Barry had learnt the value of living humbly and accepting one’s circumstances, then he might not have got into the trouble he did at first. The scripture says to be content in any circumstance.

At the point Barry leaves his home village, we know he has done the wrong thing and is now in exile, a hunted man for some misdemeanour. From there on, according to the film, Barry is carried along by fate and ends up in situations that come to his advantage. However, he also makes wrong choices and is self-centered and absorbed though has one or two redeeming values but overall, he is not in a good light. This social climber, when at the top, lacked finer judgment and discretion.

From a Christian perspective, flaws of character are anticipated, but they can be one’s downfall if not kept in check. Barry makes his fortune out of someone else, in rather dubious fashion, when he could have made a more simpler life.

He is so ambitious to ascend to the title lord, he obtains favours, and the money he spends just flitters away, and his wife keeps on writing checks.

It goes deep to the heart, illuminating Barry’s undesirable traits which should be nipped in the bud, there is also a fine lesson here for anyone who is a spend thrift. Reign it in and think of how managing your finances affects others.

Barry Lyndon is no morality play but does raise issues like these or can prompt contemplation of life issues like these. Barry Lyndon is a story about life, fallen humanity, and time and place.

The beauty, though, is that one can see it all from a vantage point, purely observing and taking it all in, and this makes the film the more richer and absorbing.

Main cast: Ryan O’Neal, Marisa Berenson, Patrick Magee, Hardy Kruger, Steven Berkoff, Gay Hamilton, Marie Keane, Leonard Rossiter. Director, producer, screenplay: Stanley Kubrick, based on William Makepeace Thackeray’s novel. Released December 11, 1975. Running time: 3 hours.