The 8th screening day of the main competition unit of the 15th #Faro IslandFilm Festival# brings you "Barry Lyndon", please see the evaluation of the old people in the frontline time journey looking at history!
Dazhao:
It concretizes the impression of all the British aristocrats, and it is a classical epic in plainness.
Mozart Lumso:
Born in poverty, he has big ambitions, the villain is successful, he is complacent, and his reputation is ruined.
Mimi:
Classicism & Classical Tragedy, play to the extreme. The first 20 guineas, to the last 500 guineas, whether good or bad, beautiful or ugly, rich or poor, have now returned to the earth equally.
Jeremy Sun:
The whole movie is like a moving classical oil painting, which truly interprets the motion picture. Needless to say about photography and artistic attainments, but Kubrick's extreme rationality makes people feel terribly indifferent.
Matsuno Somatsu:
It is really not easy to make a classical film so easy to watch. Although the whole film has a sketchy feel, the production level is very delicate. The photography and soundtrack make this not-so-classical script very comfortable to match.
Mishima travels at sea:
The rhythm of eighteenth-century literature is soothing and lethally soft, with a restrained ending to the return of fate. The soundtrack is like a river that never dries up. The switching between the close-up and the distant view through the push-pull lens fully illustrates the mutual relationship between the individual and the environment.
Fruit trees:
It is full of classical meaning, from the story to the costume to the picture presentation, it is like a work of art of that era. The soundtrack is full of marks, and it feels so good that many of the tunes that I have heard since I was a child are played with traditional British instruments. Full marks for photography, the difficulty of shooting indoor scenes illuminated by candles is sky-high.
We Min Hee:
It's called a genius. The ubiquitous soundtrack keeps the film in a classic high profile. The second paragraph begins with angina pectoris. Barry Lyndon is not a good person, but the downfall of the characters is still unbearable. An all too common classical tragic text still penetrates the soul. The narration maintains the characteristics of classical literature, and hardly speaks of the character's heart, which is done by the camera. No matter how much unwillingness and sigh there is, the subtitles of "dust to dust, earth to earth" at the end can only make people let out a sigh.
Pincent:
A near-perfect work with excellent directing, acting, screenwriting, photography, composition, lighting, music, art, and costumes. Even the choice of narration appropriately allows the audience to have a more macro perspective of "looking at the painting", with the duel as the context, In the tragic texts of the failure of class circulation, Kubrick's ruthless, bold and anti-traditional handling of traditional themes can still be seen. Make up to make fierce people gradually become zombies. In photography, I demonstrated in a textbook how to use the natural light outdoors and candlelight indoors, and I saw the perfect zoom in and zoom out. I was deeply impressed by the peeping Linden and the maid's affair and the eldest son running away. These two examples of son on board.
SONGMJ23:
It is rumored that each of Kushen's works has a different style, and I was worried about his authorship because of this, but the conception and technique of "Barry Lyndon" made my worries seem meaningless in an instant. This film creatively uses a contradictory image in the process of realizing the fit between the various aspects inside and outside the camera and Barry Lyndon's personal destiny: on the one hand, the exquisite setting restores a real 18th century for us as much as possible. The social scene, but on the other hand, the pre-emptive narration, the uninterrupted soundtrack when the scene is switched, the character behaviors that are calm to indifferent, the "frame" effect created by the reversing camera, etc., but deliberately make it all seem so cold And distortion, especially like a history that is doomed to dissipate, or has dissipated, a fleeting moment within reach. And that's exactly what Barry Lyndon's dream life was like. With this sense of closeness and alienation, Kubrick unfolds the book meticulously and calmly to tell the story, and at the same time, from a macro future perspective, he utters the sympathetic sigh that is consistent with the ending subtitles.
Midnight no one:
There are very few European costume films that I really like, because most of them I have seen before can't achieve a balance between the rigid oily feeling and the real flesh and blood of the characters, and Kubrick's technical difficulty is equivalent to re-creating a new one. Using the language of Shakespeare's play, it removes the cumbersome and outdated foundation, and uses a new and light touch to narrate a man's life. The courage to fight for the beloved woman was spent day after day in the immersion of wine, sex and wealth; the hard work of the army and horses for half a lifetime, and finally could not resist the shot of the child growing up. All the tragedies are the fates that have been written, but every step in the process and every action of the characters make you feel that you have come through really "alive". Especially about the expression of human pain, the broken leg is like a scab rebuilt on the rotten flesh that has experienced the pain of losing a child. We can only use one kind of pain to forget another kind of pain; just like ancient times. The woman in the fort put her heart to God to plead for her sins, and left her body to continue numbly signing bills. I don't know how strong control it takes to achieve this magical texture, but everything goes back to the beginning, he just wants to write a person.
The main competition publication of DAY8 will be released later, please wait and see.
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