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Barry Lyndon (Stanley Kubrick collection) [Blu-ray]
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Kubrick ha escrito con Barry Lyndon un nuevo capítulo en la historia del cine Tip Berlin. Barry Lyndon, es la historia de un ambicioso irlandés sin porvenir ni esperanzas que se propone alcanzar una elevada posición social, convirtiéndose en parte de la nobleza inglesa del siglo XVIII.
Para Barry Lyndon la respuesta sobre cómo alcanzar el poder que ambiciona es sencilla: de cualquier forma posible. Su ascenso a la riqueza en la más espléndida uy reluciente sociedad de la época es el cautivador argumento de la suntuosa versión realizada por Stanley Kubrick de la novela de William Makepeace Thackeray.
Para la creación de esta inteligente sátira ganadora de cuatro Oscars®, Kubrick encontró la inspiración en las obras de los pintores de la época. El vestuario y los decorados fueron creados basándose en los diseños de la época, poniéndose de manifiesto la excelente ambientación que en todos los aspectos presenta la película. En el aspecto técnico, pioneros objetivos de cámara fueron elaborados y utilizados para rodar tanto en exteriores como en interiores consiguiendo un efecto de luz naturas. ¿El resultado?
Barry Lyndon perdura como una película de vanguardia que retrata un período de la historia como nunca antes se había visto en la gran pantalla.
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Respecto de las películas, me interesa siempre que sea posible, calidad "BD" - ES DECIR EN ALTA DEFINICIÓN. Aunque lógicamente prima el "contenido" frente al "continente".
La calidad del blu ray hace que se aproveche mejor para deleitarse con la fotografía.
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Kubrick must have been deeply affected by the themes in Burgess' story, because he returned to them in "Barry Lyndon". Though set in an idyllically photographed past rather than a drear slummy future, the story remains the same: a young man, a product of his time and place, sets himself on a course, but finds that his fate was written for him in the beginning of his life. The opening scene shows Barry's father killed in a duel "over the purchase of some horses". Duels and horses will play outsized roles in Barry's life, over and over again. The first moment we seen Ryan O'Neal as Barry, he's playing cards, and cards -- with their connotations of gambling and luck -- almost literally constitute his life: he makes his living with them, and even desultorily plays cards when there's nothing else better to do. The irony is that his life is the antithesis of the "luck of the draw". For a gambling man, his destiny is iron-solid, free of chance. Elements and events, both mundane and tragic, occur over and over again in an endless, wearying loop. He ends much as he begins: with his mother, playing cards.
One has to wonder if Kubrick was also deeply imprinted by his removal to Europe from America. America's supposed to be the land of endless opportunity for a free people who can carve out their own destinies. The fact that Kubrick made two films back-to-back about men trapped forever in amber, wholly enslaved to their circumstances and environment, indicates that he absorbed from England's very soil the notion of caste and "knowing one's place". This is one of the reasons why we sometimes forget that Kubrick was in fact American. Americans don't tell stories like these. Americans are too young to know about things like inescapable destiny; I think that recognition requires millennia of tradition.
I keep seeing the word "cynical" used to describe this movie, but that strikes me as a shallow interpretation. The truer word is despair. Despair does not succeed at the box office; this movie famously bellyflopped and more or less ended Kubrick's reputation as an exciting director to watch for. In fact, he was forced to follow up this masterpiece with an adaptation of a Stephen King haunted-house story. From Thackeray to King is a depressing declension. In truth, his reputation -- and talent, in my opinion -- never recovered from the fallout of "Barry Lyndon". In better news, Martin Scorsese, among others, started the process of rehabilitating this movie's reputation and it's now recognized as probably the pinnacle of Kubrick's art.
But make no mistake: if you require movies with uplift and feel-good endings, then do not commit yourself to this. The theme here is clear: up or down, rich or poor, life is basically a cycle of wearying tedium until the cycle ends with our deaths -- after which event, we're all equal. Worthless dust.
And yet, the movie's gorgeousness, the little intellectual puzzles Kubrick sets before us to figure out, and Michael Hordern's bemused narration of it all somehow redeem the despair. Cheer up, Stanley, you mope! Involving, challenging, beautiful, like a great novel, "Barry Lyndon" is Kubrick's greatest work. 5 out of 5.
In my humble opinion:
This is Stanley Kubrick's masterpiece.
I enjoy it more, and find more to enjoy with each viewing (about 10 times over a 20 year period)
My nomination, as of yet, for most accurate in spirit period-piece film. Which is probably why it wasn't as popular as other period-pieces, its depicts a past that is too strange to connect to for a popular audience.
Timing and score is perfect. I didn't realize that was what was making this slow movie so compelling until maybe the third time I watched it.
The actions, the acting, the camera moves, everything is timed to the score perfectly!
My favorite scenes change each time I see it. I really noticed this most recent viewing the scene where Barry first 'meets' Lady Lyndon across the gambling table. The camera, the production, the acting, the score are all working together to keep me captivated, and no one is talking!
I always say this is one the top three films I've seen, and it always jumps back to number one after I see it again.
According to an Editor's Note on the 1999 release (found here (Amazon doesn't allow URL-insertion, so you'll have to copy-paste): [...] the Aspect Ratio is exactly the way The Master intended.
According to the WB spokesperson quoted on the above ref'd page, "In every respect, the films in the Collection remain as Kubrick approved them." (who was that decided on these description? 16X9 TVs are more accurately described as full-screen that 4X3 TVs which leave a very large area of the screen unused).
So, while the 4X3 "full" screen is annoying for those of us with 16X9 TVs, it they way Kubrick wanted us to see it. (He also favored mono over stereo because of the vast differences in theatrical audio equipment and quality; e.g. the original cut of "Star Wars: A New Hope" had mono (the overwhelming majority of theaters, back then, had one speaker placed behind the screen), 2-channel stereo, and 5 channel stereo mixes for those tiny number of theaters which had them in 1977 (two years AFTER "Barry Lyndon"!).
Unfortunately, Amazon's product description of this version frustratingly doesn't indicate if it comes with even a 2.1 stereo version, let alone a full 5.1 mix.
Either way, it's still a great movie, gorgeously photographed and including all the hallmarks of his inimitable style.