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DVD of the Week (13/8)

Kubrick’s Underrated Masterpiece: Barry Lyndon

One of the most underrated films of cinematic legend Stanley Kubrick is the film that followed A Clockwork Orange and preceded The Shining: 1975′s brilliant Barry Lyndon. Full of a delightful mixture of humour, thrills, and striking imagery, it is one of Kubrick’s more personal films, and a manifestation of sorts of his burning desire to create a Napoleon biopic.

The epic is also his longest film, at a full 184 minutes. It tells of Irish rogue Redmond Barry (Ryan O’Neal), who flees toward Dublin and gets caught up in a battle of war and aristocracy. He takes the path from a nobody to a king as he usurps the position of the royal Lady Lyndon’s husband, thus becoming Barry Lyndon. The second half of the film settles down into a stony tale of married life and unhappiness. Tension rises between Barry and his stepson, Lord Bullington, resulting in a full-out assault in front of many people in a memorable scene. It all leads up to a brilliant anti-climax: an extremely slow-paced, strangely funny duel between father and stepson.

The film looks beautiful and is framed in a lovely manner, as we would expect from Kubrick. Every shot is a delight, and it seems the cinematography and ingenious lighting is the star of the film. This is a movie Kubrick was born to make, with all the trademarks and styles that made the man a genius.

Every image is immaculate, in a manner that both borrowed from Ingmar Bergman (how much you wanna bet Kubrick saw Cries and Whispers while he was making Barry Lyndon) and possibly influenced Bergman (some shots in Fanny and Alexander are reminiscent of this film). We see into a rich world of 18th century royalty, whether it be the thrilling shots of war battle, the sweeping camera, the rotating camera, the zooming camera, Kubrick captures each scene absolutely 100% perfect, in a painstaking manner that put him at the top of his game.

And O’Neal, himself, as an actor manages to carry the movie away with a brilliant performance that more than makes up for the sappy, lifeless garbage that was Love Story. The performance is at times chilling, but always mesmerising.

I can’t understand why so few people remember this when they remember Kubrick. It’s one of his greatest, it’s one of his more emotional and it’s a truly beautiful, stunningly attractive painting, that the magic man that is SK breathed life into.

My Rating:

5/5 Kubricks

Is It Worth Adding To Your Netflix Queue?

Seen Barry Lyndon? What did you think of it? Leave a comment below.

5 Memorable Uses of Music in Stanley Kubrick Movies

Stanley Kubrick was a master of many things when making movies — direction, cinematography, set direction — but one of the top choices he consistently made was musical. From Dr. Strangelove right down to Eyes Wide Shut, Kubrick made musical choices that were insanely memorable. Here are perhaps the five most memorable:

1: We’ll Meet Again, Dr. Strangelove (1964)

The image of countless bombs exploding as this calming music plays is a simply magic use of contrast. If the world were to end as abruptly and annoyingly as it does in Strangelove, this music playing would make it a damn sight more comfortable – and funnier!

2: The Blue Danube Waltz, 2001: A Space Odyssey (1967)

The beautiful outer space has never looked so stunning as when Kubrick portrayed it alongside the amazing music of Strauss. Classical music made a memorable debut for SK as he mixed memorable imagery with insanely calming tunes.

3: The Thieving Magpie, A Clockwork Orange (1971)

That fantastic scene as Alex and his droogs walk down the riveria, frozen in thought, as this classical piece plays and violence breaks out will be forever ingrained in my mind. A scene which uses violence in a manner which makes Tarantino look like butter.

4: Sarabande, Barry Lyndon (1975)

Kubrick’s three hour biopic based on the novel is one of his best, most ingenious films, a sadly underrated film that glows with excellence every time you watch it. And this haunting theme… I never get tired of it.

5: Waltz No. 2 from Jazz Suite No. 2, Eyes Wide Shut (1999)

It’s a little bit inventive, a little bit haunting and a little bit cheeky. One of my favourite classical waltzes (beaten only by #2 on this list), and one which always brings to mind the shocking opening shot of Kubrick’s final film.

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Any music from Kubrick I missed? What music (from any director or movie) do you think was particularly memorable or well-chosen? Leave a comment below.

Very Long Movies I Can Watch Over and Over Again…

Believe me, I LOVE a good historical epic. Love ‘em a lot. But most of them are films you can enthusiastically watch once, and never return to again. This is the case with a lot of ‘em, and a lot of other assorted ‘long’ movies, but there are a special selection of movies that are AT LEAST 3 hours long that I can watch over and over and over, and possibly never get tired of them. And here they are, in order of how many times I’ve seen them.

The Best of Youth (2003)

This high-spirited, epic Italian drama is a literal lifetime spread out through six hours of pure bliss. Please do not be turned off by the runtime; this is a brilliant, insanely watchable and gripping family drama; to quote Roger Ebert: “The film is six hours long but it is also six hours deep.” An unforgettable film I will never regret watching. View Count: 1, but I plan to buy it soon and then watch it over and over.

Dekalog (1988)

I know it’s going too far to call this “the best movie of all time.” That’s an impossible statement to make, so I’m not going to venture to make it, but Krzysztof Kieslowski’s 10-hour Dekalog (conveniently sliced into ten equal pieces) is pretty damn close. It deals with pretty much all the themes, emotions and basic crises of the human condition, and it does so beautifully. A masterful, must-see epic, if ever there was one. Read my review. View Count: 1 (Be fair! I only saw it for the first time a month ago!)

Shoah (1985)

Though there is dispute whether this is a documentary or a film, Claude Lanzmann’s Shoah is the most powerful, full, emotionally visceral film about the Holocaust ever made. At a whopping nine hours, some will undoubtedly be bored, but Lanzmann’s movie is, for me, anything but boring. He provides interviews with those both directly and indirectly involved in the mass murder of the Jews, and provides haunting looks at some of the places these atrocities occured. Chilling; epic; a masterpiece. View Count: 2.

Fanny and Alexander (1983)

Ingmar Bergman’s magnificent 3-hour (or 5-hour, depending on which version you’re watching) masterwork is a brilliant, beautiful, astounding work of art. Sven Nykvist’s cinematography makes every image look like a fantastic, colourful painting, beautifully directed by an amazing Bergman at the height (and end) of his theatrical career. Jeez, I’m running out of adjectives. View Count: 2

Lawrence of Arabia (1962)

Of all the brilliant epics David Lean directed, the only one that really hooked me and made me fall in love with it was Lawrence of Arabia. Crossing the 3 and a half hour mark, it may be long, but it sure is beautiful. The stunning images of the Sahara Desert combined with the sheer will of Peter O’Toole’s T.E. Lawrence combine to make a fantastic, riveting movie. View Count: 2.

Dogville (2003)

Lars von Trier has made many films that have very divided opinion, and the one with the most divided is probably Dogville. It seems half the audience hate this fantastic 3-hour drama about social mistreatment, cruelty, and the ultimate price of letting everything go. If you’ve seen it, then make sure you visit this page and leave a comment rating it out of 10 by June 24, 2011. Anyway, it’s a fantastic (but debatable) movie that I absolutely love. View Count: 3.

Barry Lyndon (1975)

Stanley Kubrick’s longest film is actually 3 hours long, and often forgotten about when Kubrick’s name and filmography is mentioned. However, it is one of his best films, a fantastic epic about the lifetime of a young man (Ryan O’Neal) who ascends to royalty in the 19th century by fighting and cheating his way to the top. Beautifully lit, this scenically marvellous and emotionally riveting (particularly within the gripping last hour) film is sadly underrated. View Count: 4.

The Godfather, Parts I and II (1972, 1974)

Both of these films, which together total over six hours, are absolutely enthralling, brilliant masterpieces from Francis Ford Coppola that revolutionized and revitalized a mafia/crime drama genre, undoubtedly inspiring such classic directors as Martin Scorsese and Brian DePalma. Not to mention I can watch them over and over and over without ever getting tired. View Count: 6.

Inland Empire (2006)

I seem to be the only person who loves this movie enough to say it is perfect. David Lynch’s 3-hour masterpiece is a very inaccessible but still hugely enthralling delve into the unusual, darker side of humanity. A seemingly senseless, plotless series of scenes, Inland Empire actually has a bustling, multi-layered plot which is extremely difficult to decode, probably the reason I’ve watched it so many times. It’s really a film that needs to be seen to be believed, and I don’t like to throw that phrase around. View Count: 8.

Magnolia (1999)

If you read my blog you probably know this is my favourite movie of all time, and that is fair enough reason to watch it 19 times. That’s right, NINETEEN! I’ve watched this 187 minute labyrinth of emotions almost twenty times in its entirety, and I never, never, NEVER get tired of it. I’ve written a very long essay on it (which I plan to post to the site soon enough, pending further editing), and forced friends to watch it more times than they care for. Even if you don’t love this movie, as I’m certainly not expecting you to, you have to admit it has serious emotional power, and it is a testament to the brutal, strong ability of Paul Thomas Anderson, a man who was BORN to be behind the camera. Affects me in the same manner each and every time, and was arguably the film that fuelled my love for cinema. View Count: 19.

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What are some awfully long movies you love to watch? What about ones you think are too long? Not long enough? Seen any of the movies above and have something you’d like to say? Leave a comment below. Thanks for reading.

100 Things I Love About the Movies

Recently, John at The Droid You’re Looking For made a sequel to his hugely successful “100 Things I Love About the Movies” post, and being a fan of both posts, I’ve decided it’s about time I did my own. It was a very inspirational and thoughtful post, and if you read it yourself it might just make you want to do one of the same. For now, here’s mine:

1: Hi-hi-hi there, at last we meet.

2: The shaking fence in Evil Dead.

3: A rape depicted through the clever usage of a silent movie in Pedro Almodovar’s Talk to Her.

4: Qantas never crashed.

5: Whatever you want, Leo Getz.

6: The stunning ending to Lars von Trier’s Dogville.

7: Dave. Stop, Dave. I can feel it. My mind is going. There is no question about it.

8: The best movie cut of all history in Lawrence of Arabia.

9: The theme that plays when we see the man with the Harmonica in Once Upon a Time in the West.

10: Everybody’s Talkin’ At Me…

11: The abrupt ending of Bonnie and Clyde.

12: I’m a star. I’m a star, I’m a star, I’m a star. I’m a big bright shining star. That’s right.

13: The final perfect five minutes of Irreversible…

14: …and how The King’s Speech stole the music!

15: Ellen Burstyn’s monologue in Requiem for a Dream.

16: The hand emerging from the water in Deliverance.

17: The final half-hour of Audition.

18: Jimmy Schtewart.

19: The emotion and raw energy with which Kirk Douglas delivers this line in Paths of Glory: “I apologise to you, sir, for not informing you sooner that you’re a degenerate, sadistic old man, and you can go to Hell before I apologise to you now or ever again!”

20: John C. Reilly shining his flashlight into the camera in Magnolia.

21: Blood Simple to True Grit and everything in between.

22: Hello… Hello, Dimitri? I… I can’t hear, could you turn the music down? That’s great, you’re coming through fine. I’m coming through fine, too, am I? I agree with you, it’s great to be fine. Now then, Dimitri. One of our generals… he went a little funny in the head… you know, funny. And he went and did a silly thing.

23: Tracking shots. All of them.

24: The Monty Python movies (“I fart in your general direction!”)

25: Choose life. Choose a job. Choose a career. Choose a family. Choose a fucking big television. Choose washing machines, cars, compact disc players and electrical tin openers. Choose DIY and wondering who the fuck you are on a Sunday morning. Choose sitting on that couch watching mind-numbing, spirit crushing game shows, stuffing junk food into your mouth. Choose rotting away at the end of it all, pishing your last in a miserable home, nothing more than an embarrassment to the selfish, fucked up brats you spawned to replace yourself. Choose your future. Choose life.

26: Jim Carrey in Liar, Liar.

27: Steve Martin in The Jerk.

28: Isabella Rossellini begging Kyle MacLachlan in Blue Velvet (“Hit me!”).

29: In Heaven… everything is fine.

30: Did You Know You Can Use Old Motor Oil to Fertilise Your Lawn?

31: That lucky occasion when you come across a really, really good TV movie (Indictment: The McMartin Trial)

32: Get away from her, you BITCH!

33: I am Death. I have long walked at your side.

34: The most striking and disturbing use of colour in any film, that of Sven Nykvist’s brilliant cinematography in Ingmar Bergman’s fantastic Cries and Whispers.

35: NOT LOVELY, LOVELY LUDWIG VAAAANNNN!!!!

36: The slow-paced and slightly comic final duel in Barry Lyndon.

37: The deadly silent arrival of Martin Sheen into Colonel Kurtz new jungle home, rudely interrupted by an obviously high Dennis Hopper in Apocalypse Now.

38: The first six or so minutes of Persona.

39: This is my rifle, this is my gun. This is for fighting, this is for fun.

40: The haunting piano music that plays throughout the latter half of Kubrick’s fantastic Eyes Wide Shut.

41: A surprise cameo from the greatest stand-up comedian of all time in a non-comedy role in Lost Highway.

42: Tom Cruise’s finest hour:

43: The perfect opening shot of Apocalypse Now.

44: Bernard Herrman’s shrieking violins.

45: Black and White movies in the era of Colour.

46: The nameless dystopian city in David Fincher’s Se7en.

47: Uncomfortably casual nudity in Short Cuts.

48: Marge Gunderson.

49: Nobody fucks with the Jesus.

50: Bring Out the Gimp.

51: Norma Desmond’s delusions of grandeur.

52: The drug deal scene in Boogie Nights.

53: I only got two things in this world: my balls and my word. And I don’t break em for nobody.

54: Robert Downey, Jr. in Natural Born Killers.

55: The “train going into the tunnel” at the very end of North by Northwest, a clever albeit overused sexual metaphor.

56: Ricky Gervais. Always. Always.

57: A movie set entirely within one room (i.e. Buried)

58: Rob Brydon’s cameo in Lock, Stock and Two Smoking Barrels.

59: Nothing’s wrong with it, Tommy. It’s tip top. I’m just not sure about the colour.

60: I am Jack’s _____ ______.

61: Sean Penn in Fast Times at Ridgemont High, oh, and while we’re at it…

62: 80s high school movies. All of them.

63: The epilogue of Pink Flamingos.

64: Clerks. ‘Nuff said.

65: Try getting a reservation at Dorsia now, you fucking stupid bastard!

66: Silencio.

67: Earn this. Earn it.

68: The final shot of the rat at the end of The Departed.

69: Extended Director’s Cuts.

70: I’m mad as Hell, and I’m not going to take this anymore!

71: The inability of Jack Lemmon to be able to watch Grand Hotel in The Apartment.

72: Memorable last lines in Billy Wilder movies.

73: We’re a loving couple that doesn’t touch.

74: Sunday nights, where I put aside a few hours to rewatch one of my favourite movies, no matter what it is or how many times I’ve seen it.

75: The creepy hidden camera shots in Michael Haneke’s Cache.

76: Amelie’s strange games with random people in the film of the same name.

77: Go round mums, deal with Phillip, grab Liz, go to the Winchester, have a nice cold pint and wait for all this to blow over.

78: Shelley Winters in The Poseidon Adventure: “In the water, I’m a very skinny lady.”

79: Sidney Lumet. Rest in Peace.

80: The final shocking moments of Planet of the Apes.

81: The meaning of Roger O. Thornhill’s middle initial.

82: Martin Scorsese’s cameo in Taxi Driver.

83: Gregory Peck’s powerful courtroom monologue in To Kill A Mockingbird…

84: …and the uniquely different but still subtly similar version presented by a suprisingly good Matthew McConaughey in A Time to Kill.

85: Dustin Hoffman’s moving turn as Ratso Rizzo in Midnight Cowboy…

86: …and the eerie subtle similarities between Jon Voight’s character in the same movie and Dirk Diggler in Boogie Nights.

87: Mr. Jingles.

88: I just wanted to hold the little baby.

89: You mean the man who inserted rubber fist in my anus was a homosexual?

90: The stunning revelation at the end of Spoorloos (The Vanishing).

91: How quickly a director can take my interest, and how stunningly tight their grip remains on me within the shortest of times, and how it can last seemingly forever, as evidenced by my recent delve into the films of Ingmar Bergman.

92: Hit Girl.

93: Bill Murray waking up to the same nauseatingly repetitive jingle every morning in Groundhog Day.

94: Reese Witherspoon humiliating a disfigured Kiefer Sutherland in Freeway.

95: The little bit of low-budget masterpiece that was Sex, Lies and Videotape.

96: Dogme 95.

97: The Criterion Collection.

98: The little things in movies that so few directors really think to care about.

99: How movies affect my everyday life, the way I do things, the little idiosyncrasies that people rarely notice, and how I think and perceive things.

100: “I’m finished.”

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