From Wikipedia, the free encyclopedia Barry Lyndon
Barry Lyndon
Barry Lyndon Language English
German
French
Budget $11 million (estimated)
Box office $20,000,000 (US)
Barry Lyndon is a 1975 British-American period romantic
war film produced, written, and directed by Stanley
Kubrick based on the 1844 novel The Luck of Barry Lyndon
by William Makepeace Thackeray which recounts the ex-
ploits of an 18th century Irish adventurer. Ryan O’Neal
stars as Barry Lyndon.
The film had a modest commercial success and a
mixed critical reception; now it is seen as one of
Kubrick’s finest films. It was part of Time magazine’s poll
of the 100 best films as well as the Village Voice poll con-
ducted in 1999 and was ranked #27 in Sight and Sound’s
2002 film critics poll. Director Martin Scorsese has cited
Barry Lyndon as his favorite Kubrick film. Quotations from
Theatrical release poster by Jouineau Bourduge it appeared in such disparate works as Ridley Scott’s The
Duellists, Martin Scorsese’s The Age of Innocence, Wes An-
Directed by Stanley Kubrick
derson’s Rushmore and Lars von Trier’s Dogville.
Produced by Stanley Kubrick
Jan Harlan
Plot
Screenplay by Stanley Kubrick
The film is divided into two halves each headed with a ti-
Based on The Luck of Barry Lyndon by tle card.
William Makepeace Thackeray
Narrated by Michael Hordern Act I
Starring Ryan O’Neal An omniscient narrator (voice of Michael Hordern) in-
Marisa Berenson forms us that in 1750s Ireland, the father of Redmond
Patrick Magee Barry (Ryan O’Neal) is killed in a duel over a disputed
Hardy Krüger horse sale. The widow (Marie Kean), disdaining offers of
Gay Hamilton
Godfrey Quigley
marriage, devotes herself to her only son.
Steven Berkoff At a teenager, Barry falls in love with his older cousin,
Nora Brady (Gay Hamilton). She seduces him, but when
Cinematography John Alcott the well-off English Captain John Quin (Leonard Rossiter)
Editing by Tony Lawson appears, Barry, who has no money, is dropped. Nora and
her family plan to relieve their poverty with an advanta-
Studio Hawk Films
Peregrine Productions
geous marriage. Barry refuses to accept the situation and
shoots Quin in a duel.
Distributed by Warner Bros. Barry flees to Dublin, but en route is robbed of purse
Release date(s) 18 December 1975 (1975-12-18) and equipment by a famous highwayman, Captain
Feeney (Arthur O’Sullivan). Broke, he joins the British
Running time 184 minutes army where a family friend, Captain Grogan (Godfrey
Country United Kingdom Quigley), informs him that he did not kill Quin. His pistol
United States was loaded with tow. The duel was stage-managed to get
rid of Barry so Quin could marry Nora and repair her fam-
ily’s fortune.
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From Wikipedia, the free encyclopedia Barry Lyndon
Barry’s regiment is sent to France to fight in the tacks and beats up Bullingdon before the parties’ audi-
Seven Years’ War. Grogan is fatally wounded in a skir- ence. This public display of cruelty loses Barry all the
mish with the French. Barry steals an officer courier’s powerful friends he has worked so hard to make and he
uniform, horse and identity and deserts. En route to Hol- is shunned socially. Bullingdon makes good on his an-
land, then neutral, he encounters the Prussian, Captain nouncement and leaves the estate and England itself for
Potzdorf (Hardy Krüger), who, seeing through his dis- parts unknown.
guise, offers him the choice of being turned back over to In contrast to as badly as he has treated his stepson,
the British where he will be shot as a deserter, or enlist- Barry proves a compassionate and doting father to Bryan
ing in the Prussian army. Barry enlists in his second army with whom, after Bullingdon’s departure, he spends all
and saves Potzdorf’s life in a battle. his time. He cannot refuse his son anything, and even
After the war ends in 1763, Barry is employed by the buys Bryan a horse although the boy is too young to ride
Potzdorf’s Prussian Police uncle to become the servant of alone. Concerned, Lady Lyndon makes Bryan promise to
the Chevalier de Balibari (Patrick Magee), a professional ride the horse only when with his father, but the day
gambler. The Prussians suspect he is a spy and Barry is to before his ninth birthday Bryan steals away to ride the
verify this. Barry discovers the Chevalier is Irish and they horse alone. The horse has not yet been broken and
become confederates cheating at cards. When Potzdorf throws Bryan to the ground; he dies a few days later from
figures this out, he orders the Chevalier to be expelled his injuries. The grief-stricken Barry turns to drink, while
from the country, but Barry is also able to escape with the Lady Lyndon seeks solace in religion assisted by the Rev-
help of the Chevalier and they both leave Prussia secret- erend Samuel Runt (Murray Melvin), tutor first to Lord
ly. For the next few years, Barry and the Chevalier travel Bullingdon and then to Bryan. Left in charge of the fam-
the spas and parlors of Europe, profiting from their gam- ilies’ affairs while Barry and Lady Lyndon grieve, Barry’s
bling with Barry enforcing reluctant debtors with a duel. mother dismisses the Reverend, both because the family
Seeing that his life is going nowhere, Barry decides no longer needs (nor can afford, due to Barry’s debts) a
to marry into wealth. At a gambling table in Belguim, he tutor and for fear that his influence is making Lady Lyn-
encounters the beautiful and wealthy Countess of Lyn- don worse. Plunging even deeper into grief, Lady Lyn-
don (Marisa Berenson), has little difficulty seducing her, don later attempts suicide by taking pills; the Reverend
and after her elderly husband, Sir Charles Lyndon (Frank and the family’s accountant and emissary Graham (Philip
Middlemass), dies, marries her. Stone) seek out Lord Bullingdon. Upon hearing of these
events, Lord Bullingdon returns to England and after
Act II finding Barry in a local tavern and getting drunk instead
On marriage (in 1773), Barry takes the Countess’ last of being with Lady Lyondon, challenges Barry to a duel.
name and settles in England to enjoy her wealth, still Inside a barn where the duel is held, a coin flip gives
with no money of his own. Lord Bullingdon (Dominic Sav- Bullingdon the privilege of first fire, but his pistol mis-
age), Lady Lyndon’s 10-year-old son by Sir Charles, does fires. Barry, reluntant to shoot Bullington, magnani-
not approve of the marriage and quickly comes to hate mously fires into the ground, but the unmoved Bulling-
Barry, aware that Barry is merely a lower-class adventur- don refuses to let the duel end; He is allowed a second
er and is not in love with his mother. The Countess bears shot and this time he hits Barry in his right leg. A surgeon
Barry a son, Bryan Patrick, but the marriage is unhappy: later informs Barry that the leg will need to be amputated
Barry is openly unfaithful and enjoys spending his wife’s below the knee if he is to survive.
money while keeping his wife in dull seclusion. He later While Barry is recovering, Bullingdon takes control
comes to his senses and apologizes to her. of the estate. He sends a very nervous Graham to the
Some years later, Barry’s mother comes to live with cottage where Barry is recovering to offer him a deal:
him at the Lyndon estate. She warns her son that his Bullingdon will grant Barry an annuity of 500 guineas
position is precarious: If Lady Lyndon were to die, all for life on the conditions that he leave England forever
her wealth would go to Lord Bullingdon (now a young and end his marriage to Lady Lyndon. Otherwise, with
man, played by Leon Vitali), leaving Barry penniless. Bar- his credit and bank accounts exhausted, Barry’s creditors
ry’s mother advises him to obtain a noble title to protect and bill collectors will see to it that he is jailed. Wounded
himself. He cultivates the acquaintance of the influential in spirit and body, Barry accepts. He goes first to Ireland
Lord Wendover (André Morell) with this goal in mind, with his mother, then to the European continent to re-
spending much money to ingratiate himself to high so- sume his former profession of gambler, though without
ciety. All this effort is wasted, however, for one day dur- his former success. He never sees Lady Lyndon again. The
ing a birthday party for Lady Lyndon, Lord Bullingdon final scene (set in 1789) shows the middle-aged Lady Lyn-
announces his hatred of his stepfather and his intention don signing Barry’s annuity cheque as Bullingdon looks
to leave the family estate for as long as his mother re- on.
mains married to Barry. Angered, Barry immediately at- One last title card closes the film:
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From Wikipedia, the free encyclopedia Barry Lyndon
Epilogue...It was in the reign of King George III that ever, Sergei Bondarchuk and Dino De Laurentiis’ Waterloo
the aforesaid personages lived and quarreled; good was released and subsequently failed at the box office. As
or bad, handsome or ugly, rich or poor, they are all a result, Kubrick’s financiers pulled their funding for the
equal now. film. He was furious, having put considerable time and
effort into the development of the Napoleon project. Left
Cast with no alternative, he turned his attention to his next
film, A Clockwork Orange. Subsequently, Kubrick showed
• Ryan O’Neal as Redmond Barry/Barry Lyndon an interest in Thackeray’s Vanity Fair but dropped the
• Marisa Berenson as Lady Lyndon project when a serialised version for television was pro-
• Patrick Magee as The Chevalier de Balibari duced. He told an interviewer, "At one time, Vanity Fair
• Hardy Krüger as Captain Potzdorf interested me as a possible film but, in the end, I decided
• Gay Hamilton as Nora Brady the story could not be successfully compressed into the
• Godfrey Quigley as Captain Grogan relatively short time-span of a feature film...as soon as I
• Steven Berkoff as Lord Ludd read Barry Lyndon I became very excited about it."[2]
• Marie Kean as Belle, Barry’s mother Having garnered Oscar nominations for Dr
• Murray Melvin as Reverend Samuel Runt Strangelove, 2001: A Space Odyssey and A Clockwork Orange,
• Frank Middlemass as Sir Charles Reginald Lyndon Kubrick’s reputation in the early 1970s was that of "a per-
• Leon Vitali as Lord Bullingdon fectionist auteur who loomed larger over his movies than
• Dominic Savage as young Bullingdon any concept or star."[1] His studio—Warner Bros.—was
• Leonard Rossiter as Captain John Quin therefore "eager to bankroll" his next project, which
• André Morell as Lord Wendover Kubrick kept "shrouded in secrecy" from the press partly
• David Morley as Bryan Patrick Lyndon due to the furor surrounding the controversially violent
• Michael Hordern as Narrator A Clockwork Orange (particularly in the UK) and partly
• Diana Körner as Lieschen (German Girl) due to his "long-standing paranoia about the tabloid
• Arthur O’Sullivan as Captain Feeny press."[1]
• Billy Boyle as Seamus Feeny Having felt compelled to set aside his plans for a film
• Anthony Sharp as Lord Hallam about Napoleon Bonaparte, Kubrick set his sights on
Critic Tim Robey suggests, that the film "makes you re- Thackeray’s 1844 "satirical picaresque about the fortune-
alise that the most undervalued aspect of Kubrick’s ge- hunting of an Irish rogue," Barry Lyndon, the setting of
nius could well be his way with actors."[1] He adds that which allowed Kubrick to take advantage of the copious
the supporting cast is a "glittering procession of cameos, period research Kubrick had done for the now-aborted
not from star names but from vital character players." [1] Napoleon.[1] At the time, Kubrick merely announced only
The cast featured Leon Vitali as the older Lord that his next film would star Ryan O’Neal (deemed "a
Bullingdon, who would then become Kubrick’s personal seemingly un-Kubricky choice of leading man"[1]) and
assistant, working as the casting director on his following Marisa Berenson, a former Vogue and Time magazine cov-
films, and supervising film-to-video transfers for er model, and be shot largely in Ireland.[1] So heightened
Kubrick. Their relationship lasted until Kubrick’s death. was the secrecy surrounding the film that "Even Beren-
The film’s cinematographer, John Alcott, appears at the son, when Kubrick first approached her, was told only
men’s club in the non-speaking role of the man asleep that it was to be an 18th-century costume piece [and] she
in a chair near the title character when Lord Bullingdon was instructed to keep out of the sun in the months be-
challenges Barry to a duel. Kubrick’s daughter Vivian also fore production, to achieve the period-specific pallor he
appears (in an uncredited role) as a guest at Bryan’s required."[1]
birthday party.
Kubrick stalwarts Patrick Magee (who had played the Principal photography
handicapped writer in A Clockwork Orange) and Philip Principal photography took 300 days, from spring 1973
Stone (who had played Alex’s father in A Clockwork through early 1974, with a break for Christmas.
Orange, and would go on to play the dead caretaker Grady Many of the film’s exteriors were shot in Ireland,
in The Shining) also featured as the Chevalier du Balibari playing "itself, England, and Prussia during the Seven
and the Lyndon family lawyer respectively. Years’ War."[1] Drawing inspiration from "the landscapes
of Watteau and Gainsborough," Kubrick and cinematog-
Production rapher Alcott also relied on the "scrupulously researched
art direction" of Ken Adam and Roy Walker.[1] Alcott,
Development Adam and Walker would be among those who would win
Oscars for their "amazing work" on the film.[1]
After 2001: A Space Odyssey, Kubrick made plans for a film
about Napoleon Bonaparte. During pre-production, how-
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From Wikipedia, the free encyclopedia Barry Lyndon
Several of the interior scenes were filmed in Power- tions of lenses and film stock," the production got hold of
scourt House, a famous 18th century mansion in County three "super-fast 50mm" f/0.7 lenses "developed by Zeiss
Wicklow, Republic of Ireland. The house was destroyed in for use by NASA in the Apollo moon landings," which
an accidental fire several months after filming (Novem- Kubrick had discovered in his search for low-light solu-
ber 1974), so the film serves as a record of the lost inte- tions.[1][3] These super-fast lenses "with their huge aper-
riors, particularly the "Saloon" which was used for more ture (the film actually features the lowest f/stop in film
than one scene. The Wicklow Mountains are visible, for history) and fixed focal length" were problematic to
example, through the window of the Saloon during a mount, and were extensively modified into three ver-
scene set in Berlin. Other locations included Blenheim sions by Cinema Products Corp. for Kubrick so to gain
Palace, Castle Howard (exteriors of the Lyndon estate), a wider angle of view, with input from optics expert
Corsham Court (various interiors and the music room Richard Vetter of Todd-AO.[3][1] This allowed Kubrick and
scene), Petworth House (chapel, and so on.), Stourhead Alcott to shoot scenes lit with actual candles to an av-
(lake and temple), Longleat, and Wilton House (interior erage lighting volume of only three candela, "recreating
and exterior) in England, Dunrobin Castle (exterior and the huddle and glow of a pre-electrical age."[1]
garden as Spa) in Scotland, Dublin Castle in Ireland (the Although Kubrick’s express desire was to avoid elec-
chevalier’s home), Ludwigsburg Palace near Stuttgart tric lighting where possible, most shots were achieved
and Frederick the Great’s Neues Palais at Potsdam near with conventional lenses and lighting, but were lit to de-
Berlin (suggesting Berlin’s main street Unter den Linden liberately mimic natural light rather than for composi-
as construction in Potsdam had just begun in 1763). Some tional reasons. In addition to potentially seeming more
exterior shots were also filmed at Waterford Castle (now realistic, these methods also gave a particular period look
a luxury hotel and golf course) and Island. Moorstown to the film which has often been likened to 18th century
Castle in Tipperary also featured. paintings (which were, of course, depicting a world de-
void of electric lighting), in particular owing "a lot to
Cinematography William Hogarth, with whom Thackeray had always been
The film—as with "almost every Kubrick film"—is a fascinated."[1]
"showcase for [a] major innovation in technique."[1]
While 2001: A Space Odyssey had featured "revolutionary
effects," and The Shining would later feature heavy use of
the Steadicam, Barry Lyndon saw a considerable number
of sequences shot "without recourse to electric light."[1]
Cinematography was overseen by director of photogra-
phy John Alcott (who won an Oscar for his work), and
is particularly noted for the technical innovations that
made some of its most spectacular images possible. 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."[1]
Hogarth’s The Country Dance (c.1745) illustrates the type of in-
terior scene that Kubrick sought to emulate with Barry Lyn-
don.
According to critic Tim Robey, the film has a "stately,
painterly, often determinedly static quality."[1] For ex-
ample, to help light some interior scenes, lights 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. A sign of
Special ultra-fast lenses were used for Barry Lyndon to allow this method occurs in the scene where Barry duels Lord
filming using only natural light. Bullingdon. Though it appears to be lit entirely with nat-
ural light, one can see that the light coming in through
Kubrick was "determined not to reproduce the set- the cross-shaped windows in the barn appears blue in
bound, artificially lit look of other costume dramas from color, while the main lighting of the scene coming in
that time."[1] After "tinker[ing] with different combina- from the side is not. This is because the light through the
4
From Wikipedia, the free encyclopedia Barry Lyndon
cross-shaped windows is daylight from the sun, which quality and strong narrative, and Siskel himself counted
when recorded on the film stock used by Kubrick showed it as one of the five best films of the year.
up as blue-tinted compared to the incandescent electric Roger Ebert added this film to his ’Great Movies’ list
light coming in from the side. on September 9, 2009, writing, "It defies us to care, it asks
Despite such slight tinting effects, this method of us to remain only observers of its stately elegance", and
lighting not only gave the look of natural daylight com- it "must be one of the most beautiful films ever made."[4]
ing in through the windows, but it also protected the his- Actor Alec Baldwin has described Barry Lyndon as
toric locations from the damage caused by mounting the "Kubrick’s most colorful film", adding, “With its stunning
lights on walls or ceilings and the heat from the lights. imagery, you almost forget that it’s three hours long.” [5]
This helped the film "fit... perfectly with Kubrick’s
gilded-cage aesthetic - the film is consciously a museum Awards
piece, its characters pinned to the frame like butter- The film received Academy Awards for Best Art Direction
flies."[1] (Ken Adam, Roy Walker, Vernon Dixon), Best Cinematog-
raphy (John Alcott), Best Costume Design (Milena
Music Canonero, Ulla-Britt Söderlund) and Best Musical Score
The film’s period setting allowed Kubrick to indulge his (Leonard Rosenman, "for his arrangements of Schubert
penchant for classical music, and the film score uses and Handel".)[1] Kubrick was nominated three times, for
pieces by Johann Sebastian Bach (an arrangement of the Best Director, Best Picture, and Best Adapted Screen-
Concerto for violin and oboe in C minor), Frederick the play.[6]
Great (Hohenfriedberger Marsch), Antonio Vivaldi (Cello Kubrick won the British Academy of Film and Televi-
Concerto in E-Minor, a transcription of the Cello Sonata sion Arts Award for Best Direction. John Alcott won for
in E Minor RV 40), Giovanni Paisiello, Wolfgang Amadeus Best Cinematography. Barry Lyndon was also nominated
Mozart, and Franz Schubert (German Dance No. 1 in for Best Film, Art Direction, and Costume Design.
C major, Piano Trio in E-Flat, Opus 100 and Impromptu
No. 1 in C minor). The piece most associated with the
film, however, is the main title music: George Frideric
Source novel
Handel’s stately Sarabande from the Suite in D minor Stanley Kubrick based his original screenplay on William
HWV 437. Originally for solo harpsichord, the versions Makepeace Thackeray’s The Luck of Barry Lyndon (repub-
for the main and end titles are performed very romanti- lished as the novel Memoirs of Barry Lyndon, Esq.), a pi-
cally with orchestral strings, harpsichord, and timpani. It caresque tale written and published in serial form in
is used at various points in the film, in various arrange- 1844. The serial, which is told in the first person and
ments, to indicate the implacable working of impersonal "edited" by the fictional George Savage FitzBoodle, con-
fate.[citation needed] cerns a member of the Irish gentry trying to become a
The score also includes Irish folk music arranged by member of the English aristocracy.
Paddy Moloney and performed by The Chieftains. The source novel is written by Lyndon while impris-
Another very famous piece in the soundtrack is called oned looking back on his life. Lyndon is a notable ex-
Women of Ireland, by Seán Ó Riada, played by The Chief- ample of the literary device of the unreliable narrator
tains. – throughout the novel the reader is constantly asked
to question the veracity of the events described by him.
Although later editions dropped the frame device of
Reception FitzBoodle’s (Thackeray’s pseudonym) editions, it is cru-
The film "was not the commercial success Warner Bros. cial in unmasking Lyndon’s narcissism through occasion-
had been hoping for" within the United States,[1] al- al notes inserted at the bottom of the page noting infor-
though it fared better in Europe. This mixed reaction mation that is contradictory or inconsistent in relation
saw the film (in the words of one retrospective review) to what Lyndon writes elsewhere. As Andrew Sanders ar-
"greeted, on its release, with dutiful admiration – but gues in his introduction for the Oxford Classics edition,
not love. Critics... rail[ed] against the perceived coldness these annotations were relevant to the novel as an in-
of Kubrick’s style, the film’s self-conscious artistry and genious narrative device as Thackeray constantly invites
slow pace. Audiences, on the whole, rather agreed..."[1] the reader to question Lyndon’s version of the events.
This "air of disappointment"[1] factored into Kubrick’s Kubrick however felt that using a first-person narra-
decision to next film Stephen King’s The Shining – a pro- tive would not be useful in a film adaptation:
ject that would not only please him artistically, but also
be more likely to succeed financially. Still, several other "I believe Thackeray used Redmond Barry to tell his
critics, including Gene Siskel, praised the film’s technical own story in a deliberately distorted way because it
made it more interesting. Instead of the omniscient
author, Thackeray used the imperfect observer, or
5
From Wikipedia, the free encyclopedia Barry Lyndon
perhaps it would be more accurate to say the dis- Barry Lyndon departs from its source novel in several
honest observer, thus allowing the reader to judge ways. In Thackeray’s writings, events are related in the
for himself, with little difficulty, the probable truth first person by Barry himself. A comic tone pervades the
in Redmond Barry’s view of his life. This technique work, as Barry proves both a raconteur and an unreliable
worked extremely well in the novel but, of course, narrator. Kubrick’s film, by contrast, presents the story
in a film you have objective reality in front of you objectively. Though the film contains voice-over (by ac-
all of the time, so the effect of Thackeray’s first-per- tor Michael Hordern), the comments expressed are not
son story-teller could not be repeated on the screen. Barry’s, but those of an omniscient, although not entirely
It might have worked as comedy by the juxtaposi- impartial, narrator. This change in perspective alters the
tion of Barry’s version of the truth with the reality tone of the story; Thackeray tells a jaunty, humorous
on the screen, but I don’t think that Barry Lyndon tale, but Kubrick’s telling is essentially tragic, albeit with
should have been done as a comedy."[7] a satirical tone.
Kubrick also changed the plot. The novel does not in-
As in the case of most literary adaptations, Kubrick short- clude a final duel. By adding this episode, Kubrick estab-
ens or in some cases omits characters who were signifi- lishes dueling as the film’s central motif: the film begins
cant in the novel. The time period constituting his escape with a duel where Barry’s father is shot dead, and du-
from the Prussian army to his marriage is given greater els recur throughout the film. Also, in Thackeray’s novel,
detail in the novel than the film. the Chevalier de Balibari (played by Patrick Magee in the
It is also interesting to note that the film ends much film) is Barry’s long-lost uncle ("Balibari" being a gentri-
before the novel’s ending. At the end of the film, Barry fied version of "Bally Barry," the family’s home), and by
Lyndon survives with an amputated leg from a duel (an marrying into the Lyndons, Barry intends to regain his
incident absent in the novel) and returns to his gambling family fortune (his ancestors were dispossessed by the
lifestyle with lesser success while Lady Lyndon pays the Lyndons). In the film, Kubrick eliminated these familial
debts accumulated during her marriage to Barry, includ- connections from the story.
ing the sum promised to Redmond in return for leaving
the country. Though these events occur in the novel as
well, Thackeray also writes that upon Lady Lyndon’s References
death, the sum promised to Barry is cancelled and he be- [1] ^ Robey, Tim, "Kubrick’s Neglected Masterpiece",
comes destitute eventually winding up in prison for his in Telegraph Review (31 January 2009), pp. 16-17
confidence schemes. It is at this place where Barry writes [2] Ciment, Michel. "Kubrick on Barry Lyndon".
his memoirs, which end noting that he has to ’eke out a http://www.visual-memory.co.uk/amk/doc/
miserable existence, quite unworthy of the famous and interview.bl.html. Retrieved 2007-05-31.
fashionable Barry Lyndon’. [3] ^ Two Special Lenses for "Barry Lyndon", by Ed
At this point Fitz-Boodle writes an epilogue of sorts DiGiulio (President, Cinema Products Corp.),
about Barry’s final days, where his only visitor is his American Cinematographer
mother. He dies after spending 19 years in prison. [4] "Barry Lyndon (1975)".
Thackeray based the novel on the life and exploits of rogerebert.chicagosuntimes.com.
the Irish rakehell and fortunehunter Andrew Robinson http://rogerebert.suntimes.com/apps/pbcs.dll/
Stoney, who married (and subsequently was divorced by) article?AID=/20090909/REVIEWS08/909099993/
Mary Eleanor Bowes, the Countess of Strathmore, who 1023. Retrieved September 25, 2010.
became known as "The Unhappy Countess" due to the [5] http://www.scaddistrict.com/filmfest/?p=997
tempestuous liaison. [6] "NY Times: Barry Lyndon". NY Times.
The revised version, which is the novel that the world http://movies.nytimes.com/movie/4004/Barry-
generally knows as Barry Lyndon, was shorter and tighter Lyndon/awards. Retrieved 2008-12-29.
than the original serialization, and dropped the FitzBoo- [7] "visual-memory.co.uk". visual-memory.co.uk.
dle, Ed. device. It generally is considered the first "novel http://www.visual-memory.co.uk/amk/doc/
without a hero" or novel with an antihero in the English interview.bl.html. Retrieved 2010-03-07.
language. Upon its publication in 1856, it was entitled by [8] The Victorian Web
Thackeray’s publisher The Memoirs of Barry Lyndon, Esq. Of
The Kingdom Of Ireland Containing An Account of His Extra-
ordinary Adventures; Misfortunes; His Sufferings In The Ser-
External links
vice Of His Late Prussian Majesty; His Visits To Many Courts • Barry Lyndon at the Internet Movie Database
of Europe; His Marriage and Splendid Establishments in Eng- • Barry Lyndon at AllRovi
land And Ireland; And The Many Cruel Persecutions, Conspira- • Barry Lyndon at Rotten Tomatoes
cies And Slanders Of Which He Has Been A Victim.[8] • Barry Lyndon at the British Film Institute’s
Screenonline
6
From Wikipedia, the free encyclopedia Barry Lyndon
• Movie trailer • "Barry Lyndon: The Shape of Things to Come" essay
• Barry Lyndon Press Kit by Bilge Ebiri
• "Two Special Lenses for Barry Lyndon, Superfast • "Narrative and Discourse in Kubrick’s Modern
lenses employed in the filming of Barry Lyndon Tragedy" essay by Michael Klein
article from American Cinematographer • "Photographing Stanley Kubrick’s Barry Lyndon",
• "Barry Lyndon Reconsidered" essay by Mark Crispin interview with John Alcott first published in
Miller American Cinematographer
• "Kubrick’s Anti-Reading Of The Luck Of Barry • Stanley Kubrick’s letter to projectionists on Barry
Lyndon" essay by Mark Crispin Miller Lyndon at Some Came Running
Retrieved from "http://en.wikipedia.org/w/index.php?title=Barry_Lyndon&oldid=467818084"
Categories:
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