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Posted: |
Mar 21, 2016 - 6:16 AM
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By: |
Tall Guy
(Member)
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Because not everyone will check out the film reviews on the other side...
Watched this (in one go!) Saturday morning. There were no subtitles, which I normally use so as not to wake up the whole house at six am, but it was fairly steady in sound level so I was able to set it at a level that I could hear without disturbing Mrs TG. Which was a metaphor really for the whole film - it proceeds at a stately pace, telling the story in its own good time. The classical music worked well, especially in the pivotal confrontation between Barry and Bullingdon. The big talking point about this film is usually whether Ryan O'Neal was appropriate for the title role. Although he's involved in everything that happens on screen, he's strangely vacant, or perhaps vacuous. As if he's on rails, like a Raving Rabbid if you follow, taking action to try to influence events but really being dragged along by them, madly waving arms and legs but unable to escape his fate. At that, he was very good. A better actor might have put in a more satisfying performance but it might have been a different film.
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Bumping this as i am watching it again, recorded from tcm.
One thing that struck me that takes the unhurried tone of the film to another is the utterly brilliant delivery of Michael Hordern for the glorious but gentle voiceover. Just enough hint of sarcasm, just enough straight read. Perfecto.
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Since the Rosenman score was mentioned (in passing) in the first post, and finally alluded to by Tall Guy, maybe somebody here ought to say something again about the music in this movie. At a Filmex festival event in the 1970's dedicated to film composers, I recall Rosenman declaring that Mr. Kubrick is free, of course, to insist on scoring his films entirely with pre-existing concert pieces, but -- "I just think he's nuts."
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Posted: |
Apr 7, 2017 - 8:22 AM
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By: |
Howard L
(Member)
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from today's (print) NY Times--
Film Series in NYC This Week
By BEN KENIGSBERG
Ryan O’Neal and Marisa Berenson in Stanley Kubrick’s “Barry Lyndon” (1975), showing on Saturday at Kings Theater with orchestral accompaniment. Credit Warner Bros. Pictures
‘BARRY LYNDON’ WITH A LIVE ORCHESTRA at Kings Theater (April 8). A notorious perfectionist, Stanley Kubrick sent detailed instructions to projectionists showing “Barry Lyndon,” his 1975 masterpiece, which was revolutionary for its candlelit cinematography and its exacting use of period music (including Handel and Schubert). To the extent that it departs from Kubrick’s specifications, watching “Barry Lyndon” with that music performed live by a 50-piece orchestra may be a tad perverse. On the other hand, it’s tough to resist an opportunity to see the movie under such unusual circumstances, not least because the event is at the gloriously restored Kings Theater in Flatbush, Brooklyn, one of New York’s few surviving movie palaces.
718-856-5464, kingstheatre.com
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Hmph! Again, I'm utterly offended that THIS thread was ressurected instead of my original thread (see earlier post). The gauntlet is hereby thrown.
I will be thinking of you when I see the film with live orchestra tomorrow night in Brooklyn.
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It'll be interesting to see if they just use the classical adaptations, or Rosenman's bits.
And how will they deal with the traditional Irish stuff and O'Riada's material?
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I will be thinking of you when I see the film with live orchestra tomorrow night in Brooklyn.
And please report back sparing no details!
I will be sitting in Section 12, Row I, seat 201, so I will have an almost center view of the screen and orchestra. I will let you know how it goes.
James
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YET ANOTHER EXAMPLE of a film that none would care about if the director's name was STanley Kowalski....instead of Stanley Kubrick
brm
ps who gives a shit that he shot a scene using only candlelight? Besides, everbody knows he only got those NASA lenses because he helped them fake the moon landing 
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YET ANOTHER EXAMPLE of a film that none would care about if the director's name was STanley Kowalski....instead of Stanley Kubrick
brm
ps who gives a shit that he shot a scene using only candlelight? Besides, everbody knows he only got those NASA lenses because he helped them fake the moon landing
Jay-sus, Marshall, you're incorrigible.
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