[Originally published in Movietone News 48, February 1976]
Stanley Kubrick’s Barry Lyndon is a film in which the expected always happens—but usually in quite an unexpected way, much as a detail in a painting will surprise and delight, regardless of the ordinariness of its context. The world of Barry Lyndon, first of all, is not the 18th-century Europe of historical reality; it is the 18th-century Europe of Art—of the literature, painting, music, sculpture, architecture, costume, and design of the period. That’s as it should be for a film from a picaresque novel about a rudely reared, would-be gentleman’s striving after the elegance befitting what he feels to be his rightful station. And it’s as it should be for Kubrick, whose preference for the realm of art and ideas over that of natural, historical, quotidian reality is evident, and whose cinematic studies of Manipulated Man, even at their rawest, have always been couched in idealistic terms: tidy sets, tidy costumes, tidy makeup, and tight, impeccably composed shots. I’ve never seen quite so many absolutely symmetrical frame compositions in such a short time as during the running of Barry Lyndon; and no form-for-form’s-sake, either—the symmetry of individual shots and of montage directly reflects the symmetry of the story of Barry Lyndon’s rise and fall.
