It may seem silly to call a film directed byStanley Kubrick—one of the most acclaimed and influential filmmakers ever— “underrated.” But, while some of his films are widely celebrated as iconic and groundbreaking classics (i.e.2001: A Space OdysseyorThe Shining), his 1975 epic period dramaBarry Lyndondoesn’t pop up in conversations about Kubrick’s greatness nearly as often. The film centers on an impulsive but tenacious Anglo-Irish man namedRedmond Barry (Ryan O’Neal)as he seeks to improve his social status. Over the course of his journey, he becomes a fugitive from the law, joins two armies, participates in duels, and repeatedly changes his identity before ultimately setting his sights on marrying a widowed aristocrat (Marisa Berenson).
Although the film won three Academy Awards (and was nominated for Best Picture), it was also dismissed as bland and self-indulgent, with eminent criticsPauline KaelandCharles Champlinboth comparing it to a “coffee-table book.” And, even though, like many Kubrick films, it has undergone a critical re-evaluation in recent years, it still remains relatively obscure within Kubrick’s celebrated oeuvre among most movie-goers, with many people being put off by its length, pacing, and seemingly dull and clichéd narrative. Here’s why it deserves more attention, and why you should absolutely seek out theCriterion Collection’s upcoming 4K restoration of the film, releasing July 13, 2025.
Every Frame a (Literal) Painting
Barry Lyndon
Kubrick was known for conducting extensive research in preparation for his films, asserting inan interview with critic Michel Cementthat, “The starting point and sine qua non of any historical or futuristic story is to make you believe what you see.” For instance, Kubrick explained in the same interview thatthe film’s period-authentic (and Oscar-winning) costumes and set designwere primarily inspired by the works of 18th-century British artists like William Hogarth and Thomas Gainsborough: “These pictures served as the reference for everything we needed to make — clothes, furniture, hand props, architecture, vehicles, etc.”
Kubrick and cinematographer John Alcott also based their approach to lighting inBarry Lyndonon 18th-century English paintings. As Graham-Dixon points out, these paintings often depicted their subjects next to windows that allowed natural light into the otherwise dark indoor spaces. Indeed, most of the film’s indoor scenes are solely lit by either natural light coming in through windows (for daytime scenes) or by candlelight (for nighttime scenes), without any artificial lighting sources.
In order to film the candlelit indoor scenes, Kubrick obtained three rare camera lenses that had been originally designed for NASA’s moon-landing program, which were far faster than the conventional film camera lenses of the time. This bold and innovative approach to cinematography results in whatCharlie Grahan-Dixon of Dazedcalls “some of the most visually exquisite [shots] in cinema history.”
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In addition to making the film look pretty and historically authentic, the film’s constant visual homages to paintings also serve an important thematic purpose. Because paintings are a two-dimensional medium, their evocation in the film further reinforces how flat, passive, and shallow Barry is as a character. AsRoger Ebertdescribes, “… Kubrick hasdirected Ryan O’Neal in the title roleas if he were a still life. […] As one terrible event after another occurs to him, he projects an eerie calm. Nor do his triumphs…seem to bring him much joy. He is a man to whom things happen. […] He looks the part of a lover, a soldier, a husband. But there is notherethere.”
Ugly People in a Beautiful World
As impressive as the film’s indoor cinematography is, the film’s most memorable element is easily the stunning scenery of the Irish countryside, where all the movie’s outdoor shots — including the ones set in England and Prussia — were filmed. (Filming took a staggering 300 days to complete due to the perfectionist director’s infamous tendency to make his actors do dozens, if not hundreds, of takes for just a single scene.) Kubrick and Alcott frequently accentuate the countryside’s magnificence by slowly zooming out from medium close-ups of the characters to present panoramic vistas of the picturesque rural background.
Tim Pelan of Cinephilia & Beyondsuggests that the overwhelming beauty of these zoom-outs has the effect of belittling Barry and the other characters' exploits by making them seem small and insignificant: “Throughout, Kubrick exposes the frailties, foolishness and frivolities of characters […]. He reveals a beautiful, indifferent world that will endure beyond our short time.”
Similarly, Ebert posits that the gorgeousness and tranquility of the scenery belies the violent and chaotic Seven Years' War during which the film is set, illustrating Barry’sself-centered and opportunitstic nature: “[The film] hardly seems to think the war worth noticing, except as a series of challenges posed for Barry Lyndon.” As both critics agree, these zoom-outs contribute to the audience being made to feel emotionally detached from Barry. As a result, his gradual fall from grace feels pathetic and comical as much as it feels tragic.
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This ironic contrast between beauty and melancholy extends to the film’s soundtrack. Like2001,Barry Lyndon’s soundtrack consists of orchestral renditions of Classical compositions rather than an original music score. The most frequently recurring piece is Handel’s Sarabande, which Pelan and Ebert both describe as “funereal.” Pelan elaborates that the seemingly upbeat piece “embellishes the pomp of both Barry’s ambitions and the old order” during the film’s first half before ultimately “driving home the inevitable tragicomic downfall of our foolish hero” when it reappears in the film’s second half.
This seemingly sentient soundtrack, combined with Michael Hordern’sdryly plaintive narration(which causally spoils critical plot developments well before they occur), gives the film a foreboding atmosphere, suggesting that Barry has no control over his own life and destiny. As Ebert sums up, “There’s a sense in both this film and2001that a superior force hovers above these struggles and controls them. In2001, it was a never-clarified form of higher intelligence. InBarry Lyndon, it’s Kubrick himself, standing aloof from the action…”
Barry Lyndon is Martin Scorsese’s Favorite Kubrick Film
Even ifBarry Lyndonlacks the provocative subject matter and emotional intensity of Kubrick’s other films, that does not mean thatBarry Lyndonis inferior or less interesting than the rest of Kubrick’s filmography. While it certainly demands more patience and open-mindedness from the audience than even most Kubrick films, those who oblige will be in for a richly rewarding experience. Don’t believe me? Ask Kubrick’s fellow filmmaking legend andBarry Lyndonfan Martin Scorsese.
Barry Lyndonis available for rental or purchase on Amazon Prime Video and Apple TV+. The film is coming to The Criterion Collection on June 19, 2025, with a newly restored 4K version and a host of special features;pre-order it here.
