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How Kubrick Achieved the Beautiful Cinematography of Barry Lyndon

CinemaTyler

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Stanley Kubrick’s Barry Lyndon is often lauded as one of the greatest achievements in the history of cinematography. And in a decade or even a year with some of the toughest competition you can think of, Barry Lyndon always seems to stick out just a little bit more. But what sets the cinematography of Barry Lyndon apart from other movies? And how was it done?

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This video essay was written, edited, and narrated by Tyler Knudsen.

The Kubrick Files Ep. 3 - Kubrick's Cameras - The Kubrick Files Ep. 3 - Kubrick's Cameras

Sources:

https://cinephiliabeyond.org/stanley-...
Time Magazine [Dec 15, 1975]
Stanley Kubrick Archives [Barry Lyndon by Rodney Hill]
How I Learned To Stop Worrying And Love 'Barry Lyndon’ By JOHN HOFSESS
Kubrick on Barry Lyndon An interview with Michel Ciment
American Cinematographer interview with John Alcott
Stanley Kubrick Exhibition Book - Interview with Ken Adam
Six Kinds of Light John Alcott - Six Kinds of Light John Alcott
DP/30: Leon Vitali on Kubrick - DP/30: Leon Vitali on Kubrick

20 Comments

@DavidMorley 6 years ago (edited)

I was extremely lucky to be cast as Bryan in the film. I remember being there for many of the scenes (even scenes I wasn't in) simply because you had to be there, which makes watching the film again like revisiting a past life. Thanks for your fascinating insight into the cinematography.

@daveygivens735 7 years ago

This movie is the closest experience you'll ever have of walking through an art gallery without leaving your home.

@LouisODwyer 7 years ago

I was in this movie, as an extra in the battle scenes, which were shot just outside Waterford. I saw Stanley Kubrick and Ryan O'Neil one evening in the Ardree Hotel in Waterford, where they were staying. The family of a friend of mine owned the land where these battle scenes were shot and he got a job re-priming the muskets with gunpowder in between takes. Great times!

@venturarodriguezvallejo1567 7 years ago (edited)

Martin Scorsese commented about this masterpiece: "Barry Lyndon is the most beautifully filmed movie ever made in History".
All said.

@foresthaywood3424 9 years ago

feel free to work on kubrick for ever

@Alexandermedia8 7 years ago

It´s not boring , it´s bretchian, slow, profound, melancholic, disatached, like a sage recalling an old and moving story. One of Kubrick´s best films.

@nolanb21 9 years ago

Definitely my favorite Kubrick film. However, can't get very many people to sit through this one with me, even though the pace is faster than 2001 which most people adore. I think the fantastical themes and mystery to 2001 are more universal to audiences, but Barry Lyndon is undeniably the top drama set in this period of all time.

@tonygazza 9 years ago

Barry Lyndon is an eternal Masterpiece, period.

@zonesquestiloveunderworld 8 years ago

An often overlooked masterpiece of Kubrick's, amongst a career of masterpieces. These films were nowhere near as expensive as those of nowadays... but they're far superior not only aesthetically, but narratively and more importantly, dialectically.

@mmmoroi 5 years ago

The first time I saw Barry Lyndon, I slipped into a coma. On the second occasion I was fascinated by Kubrick's accomplished (actually unparalleled) cinematography. On the third occasion I was entertained by his dry sense of humour. Thereafter I saw this film more than a dozen times, each involving new discovery about his transcendent genius, far above all his peers.

@vilentman111 4 years ago

i was blown away by this film. couldnt really have cared less about the story or characters, but every single shot was just so masterfully composed and edited that it could bring a tear to your eye. i think the reason why it was so emotional was because of the brilliant score.

@biglittlefilms4382 9 years ago

As a cinematographer, this was the best breakdown of the filming and lighting style Kubrick used in this groundbreaking film that I have seen. Excellent work. Subscribed.

@GenericAccountName52 6 years ago (edited)

Not enough emphasis placed on Cinematographer John Alcott in this video. English cinematographer Alcott was one of the very best, and he won an Oscar for his work on Barry Lyndon.

@thedativecase9733 9 years ago

I wasn't old enough to go and see "Barry Lyndon" when it was first released- but I do remember that the reviews - in Britain at least - were almost uniformly terrible( "too slow" "boring" etc.) When I finally saw it for myself as an adult I was mesmerised by its beauty , It's still one of my favourite Kubrick movies.I'm glad it's now recognised as the masterpiece it always was.
The character played by Ryan O'Neal is far more sympathetic than Thackeray's original Redmond Barry in the novel - who was apparently based on a real life 18th century chancer.

@ulfingvar1 6 years ago

One of THE greatest achievement of 20th century art.

@aeromundos 7 years ago

Among the many gems of the 70's Barry Lyndon is a diamond. Timeless art.

@mmmoroi 5 years ago

In addition to the unrivaled cinematography, Barry Lyndon is full of sarcastic sense of humour, making this film doubly more enjoyable. We will never have a director of Kubrick's calibre in every element of film-making. Incidentally Ryan O'Neal followed the path of Barry Lyndon in his real life, sadly.

@IllusionSector 9 years ago

11:19 Kubrick also wouldn't plan any shot until everything was lit
<:P

@DanielRodriguez-nc7ik 9 years ago

Emilio D'Alessandro pointed out that on Lyndon Kubrick would often wait for things like a cloud to pass for lighting purposes but keep it to himself and it got to the point where the crew was extremely frustrated wondering what the hell was the wait up was

@TheStockwell 9 years ago

Not to quibble, but the film was also shot in locations in Germany and Scotland.

This film, of course, allowed Kubrick to do something with the research which went into his cancelled Napoleon film.

It's also worth noting that, although he did a great deal of work with other writers in preparing his screenplays, this is the only film he wrote a screenplay for on his own.

In his memoir, Kubrick's driver, Emilio D'Alessandro, writes a great deal about this film's production and about Kubrick's logistical brilliance. The cost of transporting the huge number of extras and actors would have been enormous using the standard method of leasing a huge number of vehicles. Kubrick discovered it would cost much less to buy a fleet of Volkswagen buses and have them available at any time. When production ended, Kubrick had them sold - and made a profit.