At that time, when I was watching the movie, I confused this movie with Director Ku's last movie, which caused me to think that the director had just passed away after filming this movie. Take this film as the director knocking on the key of his life, or he is dying in old age, and he has a new artistic perception in the baptism of time. So in the process of watching the movie, with this attitude, I finished watching this three-hour movie. I always think that the good thing about Kubrick's movies is that they are highly watchable, and the movies have no sense of stagnation, and his storytelling is a kind of genius that is unique to the wild man. Not only did I form such a stereotype based on my own tastes and the opinions of Kubrick's fans, in fact, the ideas conveyed by his films were not only praiseworthy, but also box office well. However, it seems that this movie is an exception. There is a kind of exaggeration of collapse, and the speed of the rhythm is asymmetrical. But what I see in the movie is still Kubrick-like thinking, and this time, he is thinking about the whole human being...
Of course, because the director of this movie made it in 1975, so the above conjecture It's sheer lust. It seems that film critic work is indeed an infinitely sublimated profession. Whether it is excessive interpretation or benevolent opinion can be traced.
Even so, this is a proof that the director does not repeat himself. The director chose to use a legendary narrative tone to describe the life of an ordinary person, interspersed with cunning misleading hints, and the ending is calm and unpretentious, exuding the helpless lament of the mediocrity of the world. The name of the movie is called Barry Lyndon. When you think how magnificent this person's life is, search the depths of history and find that there is no such person at all. Then it is how legendary his life is. The director is indeed a bit cute and cunning here. For example, he describes his family, father and mother at the beginning. He still uses the legendary narrative tone that runs through the whole film. , we might have thought that Lyndon would elevate some important tradition from the family so that it could affect his entire life, but no. But such causality is not just to meet the requirements of a special narrative, it itself describes Barry Lyndon, so it can be said that this is an account of his origin, and how a person's character is formed in such an environment, the director is all It was also explained with a few pictures. At the same time, he also introduced his mother who will appear later, the widow with the hard heart of her son, which is also echoed later. Another example, when Barry Lyndon first entered the barracks, the voice-over is 'The only chance to become famous in the European war seems like good luck to a fugitive who killed in a duel', this sentence has a misleading effect in it, But the director didn't lie. At the time, I was still wondering if this kid would be portrayed as the British Napoleon. In the back, Barry's fighting side is shown again, as if to tell us that Barry can become famous and enter the life of the upper class with the war, just like the first half of the name at the beginning of the movie. But in fact, the war did not bring him a chance to become famous, but made him lose his most important friend, and this hint not only maintained the cunning of the narrative, but also grasped the audience's mentality and performance. The director's attitude towards war tricks. This point is very obvious. The first is the cruelty of war, and the latter not only shows the bloody side of war, but also the displacement, which creates more widows and loneliness, and the second is the stupidity of war. The director used it here. The absurdity of the slaughter shows this. For example, the British army was ambushed by the French army. How did the director talk about this ambush? He directly let the British army turn a blind eye to the front of the neatly lined French army and waited for them to shoot, so that the latter were defeated one by one useless. (Of course, here is a bit of a simple interpretation. I don’t know if the actual European battlefield is more popular in 18. The two armies are facing each other, lining up and shooting at each other. There is no strategy at all, just like the war in the Spring and Autumn Period in China. The same as the war, everything is well-behaved, but this also shows the stupidity and absurdity of the war. In any case, this is a game of bloody high-level people piled up with corpses) Of course, these cause and effect are still closely related. related. The pain of war and leaving his hometown made Barry candid to his fellow Irish playing cards, and his superb fighting skills gave him credit when he collected debts.
The film uses the language of the turning point to push the Countess Linton to Barry's eyes. Everything is a matter of course, a bit of a mockery of the times. If you count Barry from the beginning of the film, it has been six years, until his son died when he was nine years old, and then one year later, which means that the film shows Barry's sixteen years, ten of them. With the Countess of Linton, the Chinese translation of the name has become a child of troubled times. This is the translation of Shenma. Is it a copycat Gone with the Wind? It should also be called Barry in troubled times. This kind of gimmick makes me wonder if the translator is motivated by profit and sincere. In this video, Barry has successfully entered the upper class, and the legendary narrative purpose has been achieved. According to the last title of the first half is 'upper life', here are several nodes of Barry's psychology. It was the indulgence and greed of the high-class people, the mastery of high-class rights and money, the reappearance of the philistine after the discord with the high-class society, and the reflection of the whole body and mind after the loss of his son. In fact, I've been wondering whether Barry loved Countess Linton or not, from his debauchery after marriage, to his return after his finances were tightened, to the often bickering fact in his son's narration, and to the utterly depressing death of his son, Barry Little thought was devoted to Countess Linton. At first, Barry pursued Countess Linton with the intention of becoming a member of the upper class, but there was no love; and after sharing the same bed for ten years, it was just that he was no longer in the midst of the upper class, and there was no love.
Barryrington is not legendary. From a hot-blooded teenager, to the baptism of war, and to marrying a woman and entering the upper class. The contingency of fate and the great change of fate were not uncommon in that era. For example, in a life-and-death duel, if a person is completely killed, then his fate will be turned upside down; and on the battlefield, it will be no different from the thousands of soldiers; take a noble lady, the transformation of the time The external voice is like this, 'The tempering of five years of military life has broken Barry's once young and romantic heart, and he has decided to take a titled and rich woman like many gentry before.' It is common, and there is no sense of adventure and fate. And the only legend in the movie is Barry's choice to go down and down. In a life-and-death duel with Brinton, the son of Countess Linton's ex-husband, Barry shot the gun in the case of a sure win. On the ground, it directly led to his own broken leg and expulsion. And this choice is also the last choice that Barry has experienced from out to ten years, plus the pain of losing his child. This is the biggest twist of fate. From the passion and romance of the first calf, to the fritters philistine in the military career, to the discord in the upper class, and finally to the depression brought about by the loss of a child. Barry Linton's life is not over here. According to the legendary standard of the film, there are still many stories in Barry's later life.
This is the legend that was subverted by Kubrick. The director deliberately deconstructs the traditional biographical film language with cunning and misleading hints. And the audience is fooled, mostly by habit. The film's visuals and music are equally mesmerizing. In order to deepen the display of his characteristics, the director makes the characters have a tendency to be masked. If you are accustomed to thinking of his critics' evaluation of his film's formalism, the film will be solid. But this is Kubrick's style. After adding the thoughts of Whimsical and Wonderful, what we should see is the director's awesomeness.
Barry Lyndon's life is intertwined with desire, destroyed in a moment of clearing. And his life in the end is a legendary representative of ordinary people. Kubrick here shows most people's mental journey through Barry's sixteen years.
Open Kubrick's library, if this movie is the end of Kubrick's life, it would be perfect. But this is not the case. Anyway, because of this movie, I saw Kubrick as always, and felt his fuller artistic life!
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