This is a classic moment in the film. Barry has worked so hard to build what he has become, and to have it all taken away in 1 minute in front of his peerage. Brutallll
He became nothing. He just managed to get a foolish lady and that's it. He couldn't even keep her in peace and happiness and instead fuck maids and become drunkard. Lost all his social status and become a crippled in the end.
yes, it surely feels authentic. although in this very scene any musician or baroque music practitioner or amateur will tell you there are some details which are very evident and VERY very 1970s. :D
Lord Bullingdon spews anti-Irish sentiment, followed by Barry Lyndon carrying out the negative Irish stereotype of a short temper and brawling. I can't help but notice the coincidence.
Dae Dalus Erm... no. The character Barry Lyndon is from a lower class part of the gentry in Ireland, wich would make him more liable to have a fist fight which parts of higher society would never have.
The Barry family were actually among the first Anglo-Norman families to arrive in Ireland, maintaining large possessions in county Cork since the reign of Henry II. The name comes from 'Barri', the French word for rampart. Their chief seat was in Castle Lyons as well as an early residence in Barryscourt. Although Bullingdon doesn't recognise it, they certainly were a branch of an illustrious family. In the second half of the 14th Century, the Anglo-Normans intermarried more extensively among the Irish, being thought of by the English as "more Irish than the Irish". So although the English introduced them into the country, they also repudiated them within three centuries! The more you know!
+Dae Dalus You are totally wrong. Kubrick was obsessed by the European Warrior caste (old pagan triad of warrior, philosopher/priest and worker). His first film was 'the boxer' documenting the life of a modern warrior type. A clockwork orange and full metal jacket also speak to Kubrick's pre-occupation with the warrior caste in modern social contexts, or, more acutely, how the current 'aristocracy' are entirely degenerate people who must subdue the healthy and vital energies of the 'organic aristocracy'. Barry Lyndon is the NATURAL aristocrat. All of his behaviours exhibit eliteness of mind, body and constitution. He is an ALPHA MALE. He is daring, brave, heroic in battle, skilled with fist and sword, desirable to women, cunning, shrewd and ambitious. His most noble feature is when he uses his power to exhibit a forgiveness which is the exclusive preserve of the strong, by firing his shot into the ground. Being that his stepson, a wretched effeminate creature, born to a sickly father far too old for his mother but wealthy, whose conception of nobility is passive aggressive melodramatic performance and bemoaning the 'low birth' of a man who in every conceivable way is a superior specimen to him (notice both father and son employ this strategy), Barry's upstanding and vital energies ultimately cause his downfall. Had he shot the boy he would have succeeded in life and done the world a favour. For a glimpse into the more esoteric elements of the film, there are THREE scenes where Barry enacts violence upon Bullingdon and in each scene he strikes him SIX times.
Deep Blue Oh no, I totally agree with you. I was just being kind of humorous. He is an extremely capable man, able to pick up foreign languages and fencing quickly, easily beating the intimidating soldier in a fist fight, and so on. And although he is superior in many ways to Bullingdon and others from the higher class, he is looked down upon because he is a mere Irish peasant. He's also an emotionally sensitive person, a quality which tends to determine important paths of his life, for better or worse. Redmond Barry himself is a skilled, courteous, intelligent human, but he is so easily influenced by bad company and the vices available to aristocracy. Always on a fine line of noble gentleman and selfish scumbag. Anyway, amazingly beautiful and insightful film, and yes 666, caught that also.
@@johnnyzeee5215 thank you very much. Both Kubrick and Scorcese have an excellent taste in music. You know the Flower Duet by Delibes? Well, I heard it first in a gangster movie by Scorcese. Yes really!
I've always loved how every scene, the camera barely moves. Then when this scene occurs, it's basically Saving Private Ryan. The camera's movements get more violent as the fight spirals out of control, like the filmmaker was caught off guard
It's the same with the fight scene at camp when Barry fights the other soldier in the square. Meticulous and stationary shots most of the time, but it is handheld when they are brawling.
When you're introduced to Barry's cousin at the start of the film, you just know she's not going to be the female lead. No disrespect meant to the actress playing her but it's obvious from her looks and accent. People don't use the term movie star looks for nothing...
I don’t think it was usual at all - more illustrating what they had become to one another at that point. It might be usual to talk to people outside the family and refer to his Lordship, Her Ladyship, so that others knew about of whom you were speaking and to keep the correct form of hierarchy and address, as you were taught, especially to the lower people; but surely, within family it would still be Mama, Papa, brother, if love and familiarity were still there, as attested by letters and literature at the time.
There's something about all these actors that convinces me they're from this time period. Their body language, their mannerisms, it's all so foreign but precise. Far superior to any period piece made today. Doesn't feel like some millennial actors threw on powdered wigs.
I agree and it's one of my favorite aspects about the movie, leon vitali as lord bullingdon is such an amazing performance and he really makes this scene truly special
This what I feel about Little Women (2019). The actors, even though their acting is excellent in the film, it doesn't feel like they came from that specific time period.
@crassgop mumbling, failing to enunciate at all and that horrible sotto voce thing they all do to make their words seem more important is what passes for "naturalism". I don't see what's natural about it. I don't talk that way.
First time I watched this as a teenager I was on Barry’s side all the way through, but these days I definitely think he had it all coming. He had zero reason to treat his wife and her son the way he did, he was just a complete asshat to her the second he suckered her into marrying him.
I actually wanted to hug Lord Bullington even though a person of his rank would never spend a second with my commoner self. Barry's brutality was inexcusable and the fact that he destroyed a family for self gain infuriated me. What surprises me more is that many audiences cheered this scene back in 1975. Nowadays more and more people see Barry for the brutal idiot he was rather than a climber who finally let off steam. I cheered for Bullington when he decided to fire again in the duel, because his fear of Barry melted away in that moment.
Seeing the scene at the ending of the film with him watching his mom give him allowance was heartbreaking. He knows that Barry doesn’t deserve it but can’t bring himself to overrule her decision.
I understand the people that dislike Barry, but I don't think they have understood him and especially what Kubrick wants to portrait here. Obviously Bullingdon is more than right in his arguments, but the duel scene shows the material both of them are made of. Redmond is a well natured man with natural odds for being ambitious, someone who has always been tricked by his environment, a treacherous cousin (and a family driven by money), a couple of bandits, a ridiculous war by royal and aristocratic ambitions in which soldiers were a sort of slaves, the automatons who held on their shoulders the power of oppressive state and its dreams of Enlightenment at the expense of the lower classes... this fist fight is symmetric to the one against the soldier that gained him the troop's respect, whereas in high society, Barry's physical courage and fearlessness (being the other side of the coin his physical furor with women, and his inclination for drinking) finally reveals incompatible with the artifice he was obliged to deploy in his social climb-up... Even the other Irishman from whom he learnt how to reach aristocrats' hearts and purse, was an example of noble friendship based on country fellowship over social divisions... Barry finally cannot hide his fiery nature and that, together with his naive ambition results lethal. As the final duel shows, Bullingdon was really cruel, Barry had just done everything he could without much concern, or everything that circumstances allowed him, since the goal of his life was perverted from the very beginning not because of his will. It is actually when he tries to behave like the rest of aristocrats when he looks more despicable... On the other hand, Kubrick also shows how strong but how dangerous passion may be, and that venturing oneself in something against the odds can be heroical, but it may come at a too high a price. There's some stoic vision behind, I think.
I think for the first half of the film we're supposed to complete sympathy for him, as you mentioned his robbery, his life in the British army, his conscription into the Prussian army. Even when he's brash and hot headed we still like him, it's just his natural fiery personality and boyish inexperience ....It's when he's a grown man and starts to earn his living by cheating at cards and then marries a woman he doesn't love for her wealth that we begin to grow a bit more detached from him. In his defence he's probably not doing anything that the other aristocrats weren't also doing and social mobility was almost impossible back then unless you were completely ruthless. So yes the film is as much a satire of a whole rotten system rather than one rotten man.
No, I think Bullingdon was absolutely right. Everything he said was true. The problem is that Barry had worked himself up into a place where he didn't belong. He could act well enough, but he didn't have any real brains. Like his complement of the painting - "I like the artist's use of the color blue" - shows utter ignorance. He didn't care about the art at all, he just wanted to impress people to gain his Lordship; all while totally blowing Mrs. Lyndon's money. Well, because he was just an imposter, and didn't have any real brains, he didn't sense the threat looming underneath him. And that's why this scene was such an embarrassment to him, and drove all his friends away. Because, anyone really smart would have seen this coming. He thought he could just forever beat Bullingdon down and ignore him. If he had been smarter/nicer, maybe he would have seen Bullingdon as crucial part of the family, and tried to make him a man, rather than a cowering momma's boy. But, Barry's own genetics got the best of him. And the final blow - the death of his son - goes to show that his genetics were in a place that they didn't belong. His son died because he had the Irish impulsiveness and disregard for all rules (and also due to Barry giving him everything he wanted at all times, which again, shows his weakness).
For Kubrick fans, try this for a thematic connection. Take Eyes Wide Shut at the scene of the masked ball, where Bill Hartford is forced to reveal himself to the guests. Line up that scene with this scene. Keep these things in mind. Both scenes take place on a palatial estate. Lord Bullingdon and Red Cloak are the English lords of their manors (and btw both characters are played by Leon Vitali, Kubrick's long time assistant). The anti-hero characters are both outsiders conning their way into high society, and both are played by Irish-American actors, O'Neal and Cruise. In both scenes their ruses are blown out by the English lords. And yet there is a reversal. Lord Bullingdon crashes Barry's party, humiliates Barry before the guests, vows to go into exile, and leave his female protector to the mercies of Barry. Hartford crashes Red Cloak's party, but Red Cloak humiliates Hartford before the guests, sends him into exile, in exchange for his female protector's vow to "redeem" him, leaving her to the mercies of Red Cloak. Thanks for sharing this.
This scene epitomizes the pathos of the film, and perhaps Kubrick's entire film catalog. Kubrick highlights here, as with many of his other films, man at odds with society. Kubrick isn't just talking about how we interact, he's questioning our entire social foundation - What are these rules we've created for ourselves, and how much do they compromise our true emotional spirit? We see unaffected, emotionless characters throughout the movie, always keeping up an appearance of regal stoicism. It's almost too much to stomach. It's scenes like this which offer the audience a release; an instance of true emotional weight, boiling over and bared for all to see. It reminds us of the facade society has us create, the unnatural pressures of conformity, and how we're a fragile moment away from near-animal brutality. This encapsulates Kubrick's most salient point of all - the importance of individual liberty. Just think of Pyle from FMJ, Alex from ACO or Redmond Barry here. Each character's individuality and true self is suppressed to satisfy the demands of society, often to the point of being unrecognizable. It is the sacrifice of human nature for perceived safety. Kubrick seems to ask: "Is this a price worth paying?" Or, at the very least, he intends to remind us the price we've paid is a high one. I, for one, think he's right.
Yeah, Kubrick intented to tell us shit. This scene is a combination of three different episodes from the novel he turned into a film script. Just like Gomer Pyle killed the drill sergeant and himself in the novel Short-Timers which Kubrick turned into FMJ and just like whatever Alex did in the movie was a depiction of his actions in the original novel. For the most part the pathos of Kubrick's entire film catalog was the creation of pretty or intense images and the interaction between weird, alien like, characters. A sort of "epater les bourgeois" tactic to make up for his uncurable inability to combine social critique with storytelling. As for the artistic and intellectual aspect of his work, he could always count on overzealous critics and fans creating a purpose and a deliberate aim where there was none to begin with.
Am I the only one who thinks Lord Bullington was really irritating? Yes, Lyndon had his faults for beating him but I did not like the Lord from the beginning.
Bullingdon is literally a pompous cowardly man child with an Oedipal complex. I don’t know how anybody sees him as the protagonist, he’s way worse than Barry.
This scene feels like a gut punch. Throughout the whole film it's extremely still and professional from dialogue to cinematography, then out of nowhere we get this absolute rampage mixed with the unnerving screams of the audience. What a film.
I read somewhere that Ryan O'Neal got caught up in the moment and accidently hurt Leon Vitale during this scene. They had to add more padding to Lord Bullington's costume to compensate. I also read that O'Neal and Vitale became good friends in real life.
I watched my new blu-ray of this movie just last night, 12 foot home theater screen. Be sure and watch this film on the biggest screen you can manage, because it is one of the most exquisitely crafted and detailed movies that has ever been.
Definitely in my top list of films. Absolutely stunning, breath-taking and heartbreakingly beautiful visuals. Kubrick was way ahead of his time for films. The fact his films are still very much watchable to this day is a testament to his gift at making timeless and contemporary art.
One thing people gloss over is the humorous aspects of Kubrick’s work. This may have well been Jerry Springer, and when she returns to witness the brawl, her reaction is amusing.
2:14 "And enjoy all the benefits of the illustrious blood of the Barrys of Barryville." By our standards, Bullingdon is an atrocious snob which makes him so dislikeable. Yet, he is the victim of an opportunist gold digging and brutal stepfather. Everything he says about Redmond is correct, but he's so obnoxious and snobby in doing so that one feels very little sympathy for him. (Bullingdon truly believes that his "lineage" alone makes him to superior to others. Today, that's appalling, but in 18th century England that was as natural to someone like Bullingdon as breathing.)
"Don't you think he fits my shoes well, your ladyship? Dear child, what a pity it is I am not dead for your sake. The Lyndons then would have a worthy representative, and would enjoy all the benefits of the illustrious blood of the Barry's of Baryville. Would they not, Mr Redmond Barry?"
_If he had murdered Lord Bullingdon, Barry could have scarcely been received with more coldness and resentment than now followed him in town and country. His friends fell away from him and the legend arose of his cruelty to his stepson._
@@letsgetlit2829and Barry was just gold digger and basically cuckold of his wife (cause he didn't represented anything by himself), all he had was rich wife 😂😂
@@letsgetlit2829 idk if anyone who risks it in a duel is much a coward. He's also going to inherit all of the Lyndon estate, he's not left wanting for a little arousing attention
@@letsgetlit2829whaaat? He kept his fathers memory and never cowed to the Irish upstart, and publically berated a brutal war veteran, duelist and killer … then challenges him to a duel later! He is a giga chad dude
I'm trying to make up my mind about this scene. On one hand, we might see that Barry's real (lower and uncouth) nature cannot change. He has put a mask all these years to serve his egotistical purposes and he proves he simply can't fit into the society he hopes. He doesn't have a noble upbringing. And this shows at its best here. See the difference between how Bullingdon (a lord) handles the whole situation without resorting to violence. Barry has been sitting there all this time acting noble but he can't pretend any longer. His real nature emerges. This creates a whole new chain of thoughts regarding the pressure we put on ourselves to fit in somewhere and repress our true nature. On the other hand, could it be an attempt to show Barry's _human,_ passionate nature? A nature that is repressed and distorted in a conventional and rigid high-class upbringing? Perhaps both.
I don't think it's supposed to be cut and dry. Barry wouldn't be such a tragic figure if he were two dimensional. Same with the duel scene later. Barry shows compassion by not taking the shot, and your immediate reaction to Bullingdon continuing the duel is disgust. But then you remember what a piece of shit Barry has been to Bullingdon for so long, and it's hard to argue against Barry having made this bed a long time ago.
@@daffyphack So true. I was about to debate you when you said the immediate reaction is "disgust" but then you went on to say what I was going to. I was rooting for Barry most of the movie, in a way, especially after seeing how great he was with Bryan. But I'm team Bullingdon no doubt of the two. Barry was selfish, mistreated his mom, disrespected his father's legacy, and abused him for standing up for what's right. I was very happy to see Bullingdon win in the end.
Great scene.... Many forget that even though Barry is the main character, Lord Bullingdon is actually the protagonist(good guy) and sees him for what he really is, an 18th century loser, gold digger, and narcissist.
Matthias Csatary Except Bullingdon was a malignant sociopath with a disturbing fixation regarding his mother. Barry was ultimately the most "honest" person of the lot of them while Bullingdon was a cowardly ponce surrounded by greedy people like Reverend Runt, who at least knew his place when he was trying to control the lady.
Grýps If you were the .3% of the wealthiest people in the U.K. you would certainly love the 18th century. However, most others were peasants, slaves, prostitutes, etc., even though it was possibly the peak of Great Britain's wealth, a time when they "owned" nearly 25% of the world's landmass.
This became my favorite Stanley film when I saw it 2 days ago. Watched all Kubrick films and left this one for last because I thought it would be bad but it was phenomenal
Here in this clip the Music of Bach has been played very very well especially tone of Harpsichord was so charming I wished to complete the concert then fighting as they wish
Bullington exposed Lyndon to what he really is and more. Bullington is the hero of this story even though he is not well liked by his peers, "And rightfully so" he said.
I am playing the flute solo accompanied by Leslie Pearson on harpsichord in Petersham Church nr Richmond in London. Leslie noticed that the actress was moving her hands in a different direction from the line of Bach's music...so instantly 'composed' on the spot a 'Bach' line to fit the picture!! Genius and professionalism combined. ADRIAN BRETT
Bullingdon is the Master of Ceremonies at the EYES WIDE SHUT party! 'now....get undressed! Remove your clothes...or would you like us to remove them for you?'
This is easily my favourite scene in the movie. The sheer brutality barry shows make it apparent that he had nothing but luck until this point. Barry was never smart or good with words or anything, he just threw is reputation and status away out of pure anger towards his step son. The amount of time it takes the "men" to react and do something is baffling. his step son finally stepping up to him in front of everything is so satisfying and berry does the songle worst thing in response. I like how berry was never outright bad, but rather self centered and sometimes, in contrast, selfless like when he saved that prussian officer, oh ... and of course when he shot the ground in the duel later. Truly a musterpiece
There is a reluctance to intervene because at that tiem in history, parents - even stepparents - had a free hand to do pretty much anything they wanted to their children. It woul dbe many years before there were any laws restricting how parents could treat or punish their children, it was called "the sanctity of the hearth". And of course they are stunned at the speech and Barry's reaction. Barry isn't entirely evil, but he's a cheat, a liar, he deliberately provokes carefully selected people into challenging him to duels which he knows they have no chance of winning,. he marries Lady Lyndon for nothing other than her name, he rmoney and gaining social position. He is horribly abusive to his stepson both mentally and physically. Pretty the only shred of decency in Barry was his love for his own son.
@@kingstarscream3807 He wanted nothing more than to join the aristocracy. He married Lady Lyndon for two specific reasons, to obtain her money and hopefully to obtain her title - though marriage alone could not do this, as the title was already automatically passed to Lady Lyndon's son, even though a child; Lord Bullingdon. Barry specifically petitioned the king to grant him the title but it was refused. Throughout his marriage Barry quite openly had affairs and spent Lady Lyndon's money with abandon, usually trying to cultivate his social standing - in fact he ran up immense debts, all of which are called after socirty turns against him after the incident shown here. So much so that it almost ruins the family fortune, Lady Lyndon is shown signing cheque after cheque as her horrified accountant goes through the bills that have suddenly be called in.
These English aristocratic gentlemen would never understand how heavy and powerful is Irishman's hand clutched into a fist when it falls onto your body as a sledgehammer. Why they barely held him in place.
That woman is stunningly beautiful. There are attractive people in many films but you would be hard pressed to find ANYONE that could surpass the incredible beauty of that actress. I mean, it's everything. Her eyes, her lips, her bone structure, her clear skin, the way her jaw and chin come together for a perfect face shape overall, the way she gazes at you, hell even the colour of her eyes is somewhat rare, etc... Most good looking people still have SOME flaws but not her. Even things like her neck is long and elegant like a swan.
@colinmontgomery1956 waaaay more exquisite beauty than Romi. I honestly think Romi was a little plain looking. Could name a dozen girls I know with similar looks
Barry reminds me of the people in Essex and Edgeware. They grow up without much, come into money as adults, and they live like kings, even though they don't really have the money to do it. They live in huge lavish houses, spend every penny they have, yet they keep a lot of low class habits. Then they lose all their money.
After this scene watch the duel toward the end of the film between Barry and Bullingdon. It's one of the most brilliantly conceived duels in cinematic history. It also reveals that Barry was not a complete monster toward his stepson.
The camerawork is so perfectly representative of what’s going on. Barry’s reputation, already hanging by a thread, is gone beyond saving. The trash shows his true pedigree. It goes from every scene a baroque painting to Jerry Springer.
The irony there is that Barry is behaving in a way that would have been completely natural to the Anglo-Norman lords all those gentlemen descend from. Henry II would have cracked any of his childrens' skulls for insulting him so grievously, so publicly.
A brilliant film, a work of art, beautiful costumes, scenery, and acting. Much of the scenery internal and external taken at Wilton House the home of Lord and Lady Pembroke, a stunning backdrop for many classical films.
3:37 "But, suddenly, I viddied that thinking was for the gloopy ones and that the oomny ones use like inspiration and what Bog sends" (Redmond Barry, probably)
What makes Lyndon's attack of his step son so shocking... was bc, upto this point, Kubrick masterfully rendered the rules of 18th century gentlemanly etiquette and culture. Lyndon's disgrace and shame was a 1000 fold worse (not so much because he attacked his step son), but because of his PUBLIC Violation of societal gentlemanly rules.
The reactions of the assembled crowd really make this. Especially the ladies, the ones who don't want to seem too interested but clearly can't look away either.
I find it fascinating how Kubrick decided to portray Barry as an almost honest, good-natured man facing an oppressive and narrow minded nobility. In the book he's absolutely terrible, he basically kidnaps lady Lyndon and forces her to marry him, he's constantly drunk (even before the death of his son), regularly beats his wife, and loses everything to gambling. Lady Lyndon seeks help to put an end to the marriage but he checks her correspondence and prevents her from leaving the manor. This fight doesn't take place, Bullingdon simply tells his mom those things hoping that she would do something but she's too scared so he just leaves. The final duel (where in the film Barry shows magnamity to his clumsy step-son) is also absent: friends of lady Lyndon simply decide that enough is enough and banish Barry from the country. Also, Barry is not robbed on the way to Dublin but reaches Dublin safely and squanders his money in clothes, wine, and gambling, telling lies all the time. The book is almost comical in tone, even in the last chapters, which makes all that more acceptable. It would have probably been too much for the serious film Kubrick wanted to make.
Great input, thank you. Kubrick has always taken a great deal of creative license when adapting works to film. While I haven't read Barry Lyndon, I have read Red Alert, which Dr. Strangelove was adapted from. In that case, Kubrick took an otherwise serious novel about the risks of nuclear war and essentially inverted the ending and added a lot more comedic frills and one-liners to make it a black humor comedy. It sounds like in the case of Barry Lyndon, he did the opposite; adapting a comedy to a serious period piece. Since pretty much all of his films are adapted from existing literary work, I'm sure there are tons of examples of this elsewhere. While I think trying to understand a director's intentions is a bit of an effort in futility generally-speaking, in the context of Barry Lyndon, we do have some context to go off of; Kubrick originally wanted to make a film about Napoleon Bonaparte, but given the commercial failure of a similar film released around that time, he pivoted to different source material from around the same time period, which ended-up being Barry Lyndon. I think Kubrick's execution of the portrayal of Barry as our "coming-of-age and fall from grace" protagonist better reflects the pacing and tone that we would have received from a more-or-less autobiographical film about Napoleon. In my personal opinion, shooting a 3-hour long film possessing some of the most groundbreaking cinematography captured on celluloid, and having the subject matter be... a perpetual drunk... would be... a strange choice. No matter the underlying reasons for Kubrick's creative license, I'll take it.
This is my favorite scene from this movie. This is pure chaos Imagine watching all the very neat, static , well-structured shot along the way and hit by this scene. It’s just 😮😮
Hey bro. I am a TOTAL tubesocks and very floppy sneakers perpetual JV (Junior Varsity) baseball jock from 1985 and am in my stocking feet all the time. Doesn't always end well for me, that is true!! LOL :) JV Johnny
I love how the camera goes really wild once the fight starts.
Just like A Clockwork Orange
Exactly, yeah, for a moment it becomes A Clockwork Orange
@@DMalltheway In both instances it is the director himself using his Arri IIC camera to photograph.
Like reality TV fight
Coincidentally, the old actor from a clockwork orange is in this scene
From this scene, we learn that it need 12 people to restrain an angry Irishman.
K42292 ...and that Barry was a self centred looser....
is this the reason the irish were not welcomed and discriminated when they step on american soil?
+Cj Mc it PROVED how HELPLESS they all were!
And he was sober too. Imagine how many it would take to separate a drunk Irishman
@@ADAPTATION7 Lord Bullington's speech in front of that crowd was already devastating to Barry regardless of Barry kicking his ass.
Every scene is like an oil painting by a great master.
👍👍👍👍👍👍👍👍👍
A lot of the settings and scene compositions were based on William Hogarth paintings.
Since frame 1 of this scene it looks like a painting.
Très vrai.
"Man Beating the Shit out of his Adopted Son", oil on canvas, 1780
This is a classic moment in the film. Barry has worked so hard to build what he has become, and to have it all taken away in 1 minute in front of his peerage. Brutallll
He became nothing. He just managed to get a foolish lady and that's it. He couldn't even keep her in peace and happiness and instead fuck maids and become drunkard. Lost all his social status and become a crippled in the end.
@@ChrisBrown-ir6sf he totally deserved it, you’re right.
he was a whiny bitch who conned his way through the continent. he never worked a day in his life for anything.
What's great is that Barry saw what he was doing and as a last ditch effort decided to ruin Bull's image in that moment too.
He didn't deserve anything. He used women for their money.
This movie is so authentic in every aspect that it feels surreal watching it.
Nabil Leal credit to kubricks research and attention to detail
not completely. but kind of yes. a clockwork orange is what i would truly call surreal
@@JackJackKcajify 2001 is what I would call surreal honestly.
@@verbalkint4258 yea its surreal ill give you that.
yes, it surely feels authentic. although in this very scene any musician or baroque music practitioner or amateur will tell you there are some details which are very evident and VERY very 1970s. :D
Something hilarious about fights kicking off in the clothing of this period
In the clothing of nobility of this period.
All pf the nobles are slipping and falling on eachother lol
I had to laugh out loud
@@connorpusey5912 and even then it was only formal dress clothing, yet they wear it all the time in the movies.
@@kishascape
Yes, right
Lord Bullingdon spews anti-Irish sentiment, followed by Barry Lyndon carrying out the negative Irish stereotype of a short temper and brawling. I can't help but notice the coincidence.
Dae Dalus Erm... no.
The character Barry Lyndon is from a lower class part of the gentry in Ireland, wich would make him more liable to have a fist fight which parts of higher society would never have.
The Barry family were actually among the first Anglo-Norman families to arrive in Ireland, maintaining large possessions in county Cork since the reign of Henry II. The name comes from 'Barri', the French word for rampart.
Their chief seat was in Castle Lyons as well as an early residence in Barryscourt. Although Bullingdon doesn't recognise it, they certainly were a branch of an illustrious family. In the second half of the 14th Century, the Anglo-Normans intermarried more extensively among the Irish, being thought of by the English as "more Irish than the Irish". So although the English introduced them into the country, they also repudiated them within three centuries! The more you know!
Lucas Bookfield Interesting....I appreciate this information, thanks!
+Dae Dalus You are totally wrong.
Kubrick was obsessed by the European Warrior caste (old pagan triad of warrior, philosopher/priest and worker). His first film was 'the boxer' documenting the life of a modern warrior type. A clockwork orange and full metal jacket also speak to Kubrick's pre-occupation with the warrior caste in modern social contexts, or, more acutely, how the current 'aristocracy' are entirely degenerate people who must subdue the healthy and vital energies of the 'organic aristocracy'.
Barry Lyndon is the NATURAL aristocrat. All of his behaviours exhibit eliteness of mind, body and constitution. He is an ALPHA MALE. He is daring, brave, heroic in battle, skilled with fist and sword, desirable to women, cunning, shrewd and ambitious. His most noble feature is when he uses his power to exhibit a forgiveness which is the exclusive preserve of the strong, by firing his shot into the ground. Being that his stepson, a wretched effeminate creature, born to a sickly father far too old for his mother but wealthy, whose conception of nobility is passive aggressive melodramatic performance and bemoaning the 'low birth' of a man who in every conceivable way is a superior specimen to him (notice both father and son employ this strategy), Barry's upstanding and vital energies ultimately cause his downfall. Had he shot the boy he would have succeeded in life and done the world a favour.
For a glimpse into the more esoteric elements of the film, there are THREE scenes where Barry enacts violence upon Bullingdon and in each scene he strikes him SIX times.
Deep Blue Oh no, I totally agree with you. I was just being kind of humorous. He is an extremely capable man, able to pick up foreign languages and fencing quickly, easily beating the intimidating soldier in a fist fight, and so on. And although he is superior in many ways to Bullingdon and others from the higher class, he is looked down upon because he is a mere Irish peasant. He's also an emotionally sensitive person, a quality which tends to determine important paths of his life, for better or worse. Redmond Barry himself is a skilled, courteous, intelligent human, but he is so easily influenced by bad company and the vices available to aristocracy. Always on a fine line of noble gentleman and selfish scumbag.
Anyway, amazingly beautiful and insightful film, and yes 666, caught that also.
The serenity and grace of the Bach concerto , against the family strife and violence which follow, is one more amazing Kubrick juxtaposition.
Was it Bach? To me it sounded like Vivaldi.
@@nielskjr5432 Yes, J.S. Bach. Concerto for 2 Harpsichords. BWV 1061. Movement 2. Here scored for harpsichord and flute.
@@johnnyzeee5215 thank you very much. Both Kubrick and Scorcese have an excellent taste in music. You know the Flower Duet by Delibes? Well, I heard it first in a gangster movie by Scorcese. Yes really!
Very good point sir
Contrast!
Barry Lyndon was a masterpiece. It should hang in the Louve in Paris.
And this scene is terrific.
Louvres*
*Louvre
Well said, Rossini Angelini!
Très vraie miss
@@EM1806*Louvre. Louvres ( with an s at the end ) is a suburb in the north of Paris 😂
Barry hit that ngga with a Spine punch
😂😂😂
This scene was too good... Ngga beats him
the mfing crippler
I've always loved how every scene, the camera barely moves. Then when this scene occurs, it's basically Saving Private Ryan. The camera's movements get more violent as the fight spirals out of control, like the filmmaker was caught off guard
All fight sequences in the film are handheld if that's what you mean
What a great observation
It's the same with the fight scene at camp when Barry fights the other soldier in the square. Meticulous and stationary shots most of the time, but it is handheld when they are brawling.
Saving Private Ryan as a reference to interpret Kubrick. Some class.
Lady Lyndon is absolutely stunning.
Kai Morrison Well, she (Marisa Berenson) was a top Vogue model back when this was filmed.
yea. that face.
Marisa Berenson is ravissante.
When you're introduced to Barry's cousin at the start of the film, you just know she's not going to be the female lead. No disrespect meant to the actress playing her but it's obvious from her looks and accent. People don't use the term movie star looks for nothing...
@@anthonyzav3769 those eyes!
That was the most classy and articulate way of saying 'Fuck you!" I have ever heard in my entire life.
Well, Barry's "Fuck you" is more effective)
Imagine literally calling your own son "My Lord." and your own mother "Your Ladyship." or "Madam"
It's not that out of place in that time period. Unusual, cold even, but not as great a faux pas as assaulting a dude at a concert
I don’t think it was usual at all - more illustrating what they had become to one another at that point. It might be usual to talk to people outside the family and refer to his Lordship, Her Ladyship, so that others knew about of whom you were speaking and to keep the correct form of hierarchy and address, as you were taught, especially to the lower people; but surely, within family it would still be Mama, Papa, brother, if love and familiarity were still there, as attested by letters and literature at the time.
Half of the audience who recoiled in shock and horror at Barry's cruelty were probably up to their necks in the slave trade at the time!
Formal address used to be taken quite seriously, even in my own parents' childhood it wasn't unheard-of to call your father 'sir' or mother 'ma'am.'
In public it was very common for noble parents and children to refer to themselves by their titles actually!
There's something about all these actors that convinces me they're from this time period. Their body language, their mannerisms, it's all so foreign but precise. Far superior to any period piece made today. Doesn't feel like some millennial actors threw on powdered wigs.
"the favourite" is modern period drama and its better.
I agree and it's one of my favorite aspects about the movie, leon vitali as lord bullingdon is such an amazing performance and he really makes this scene truly special
This what I feel about Little Women (2019). The actors, even though their acting is excellent in the film, it doesn't feel like they came from that specific time period.
@crassgop mumbling, failing to enunciate at all and that horrible sotto voce thing they all do to make their words seem more important is what passes for "naturalism". I don't see what's natural about it. I don't talk that way.
@crassgop LOL yeah, and if those people ever read what you just wrote, they would probably think it was super meta and dig in even deeper.
Kubrick is the Michelangelo of filmmaking
Michelangelo was the Kubrick of painting.
Great analogy. His films are rich tapesteies
I honestly felt sorry for Lord Bullington since he had to put up with his stepfather‘s unorthodox behavior and his severe beating.
Me too, I think the audience is supposed to feel for him though.
Yeah Barry is a sympathetic figure but he mistreated Lady Lyndon and Lors Bullington.
First time I watched this as a teenager I was on Barry’s side all the way through, but these days I definitely think he had it all coming. He had zero reason to treat his wife and her son the way he did, he was just a complete asshat to her the second he suckered her into marrying him.
I actually wanted to hug Lord Bullington even though a person of his rank would never spend a second with my commoner self. Barry's brutality was inexcusable and the fact that he destroyed a family for self gain infuriated me. What surprises me more is that many audiences cheered this scene back in 1975. Nowadays more and more people see Barry for the brutal idiot he was rather than a climber who finally let off steam. I cheered for Bullington when he decided to fire again in the duel, because his fear of Barry melted away in that moment.
Seeing the scene at the ending of the film with him watching his mom give him allowance was heartbreaking. He knows that Barry doesn’t deserve it but can’t bring himself to overrule her decision.
Even though he got beat up.
You got to admire Bullingtons troll game.
As much as i hate the reverend, gotta addmit he was playing the shit outta that flute.
Ahah I like the reverend 😁
Why would you hate him? What's dislikeable about his character?
@@peterjoyfilms amen,again
@@sarinabi amen
@@fernandoguevara5227 ok
When Kubrick uses handheld you can be damn sure he's using it for a reason...
Ikr. Whenever theres a handheld scene it makes it 10x better
best fight scene ever filmed… pure rage… this film is a MASTERPIECE on so many levels... the cut to his pensive contemplation is perfection
I understand the people that dislike Barry, but I don't think they have understood him and especially what Kubrick wants to portrait here. Obviously Bullingdon is more than right in his arguments, but the duel scene shows the material both of them are made of. Redmond is a well natured man with natural odds for being ambitious, someone who has always been tricked by his environment, a treacherous cousin (and a family driven by money), a couple of bandits, a ridiculous war by royal and aristocratic ambitions in which soldiers were a sort of slaves, the automatons who held on their shoulders the power of oppressive state and its dreams of Enlightenment at the expense of the lower classes... this fist fight is symmetric to the one against the soldier that gained him the troop's respect, whereas in high society, Barry's physical courage and fearlessness (being the other side of the coin his physical furor with women, and his inclination for drinking) finally reveals incompatible with the artifice he was obliged to deploy in his social climb-up... Even the other Irishman from whom he learnt how to reach aristocrats' hearts and purse, was an example of noble friendship based on country fellowship over social divisions... Barry finally cannot hide his fiery nature and that, together with his naive ambition results lethal. As the final duel shows, Bullingdon was really cruel, Barry had just done everything he could without much concern, or everything that circumstances allowed him, since the goal of his life was perverted from the very beginning not because of his will. It is actually when he tries to behave like the rest of aristocrats when he looks more despicable... On the other hand, Kubrick also shows how strong but how dangerous passion may be, and that venturing oneself in something against the odds can be heroical, but it may come at a too high a price. There's some stoic vision behind, I think.
I think for the first half of the film we're supposed to complete sympathy for him, as you mentioned his robbery, his life in the British army, his conscription into the Prussian army. Even when he's brash and hot headed we still like him, it's just his natural fiery personality and boyish inexperience ....It's when he's a grown man and starts to earn his living by cheating at cards and then marries a woman he doesn't love for her wealth that we begin to grow a bit more detached from him. In his defence he's probably not doing anything that the other aristocrats weren't also doing and social mobility was almost impossible back then unless you were completely ruthless. So yes the film is as much a satire of a whole rotten system rather than one rotten man.
Bravo mbare
the dwell scene or the whole scene. You use the word 'dwell' twice in your essay that doesn't make any sense.
No, I think Bullingdon was absolutely right. Everything he said was true. The problem is that Barry had worked himself up into a place where he didn't belong. He could act well enough, but he didn't have any real brains. Like his complement of the painting - "I like the artist's use of the color blue" - shows utter ignorance. He didn't care about the art at all, he just wanted to impress people to gain his Lordship; all while totally blowing Mrs. Lyndon's money. Well, because he was just an imposter, and didn't have any real brains, he didn't sense the threat looming underneath him. And that's why this scene was such an embarrassment to him, and drove all his friends away. Because, anyone really smart would have seen this coming. He thought he could just forever beat Bullingdon down and ignore him. If he had been smarter/nicer, maybe he would have seen Bullingdon as crucial part of the family, and tried to make him a man, rather than a cowering momma's boy. But, Barry's own genetics got the best of him. And the final blow - the death of his son - goes to show that his genetics were in a place that they didn't belong. His son died because he had the Irish impulsiveness and disregard for all rules (and also due to Barry giving him everything he wanted at all times, which again, shows his weakness).
Bullingdon was not cruel in the final duel. It was revenge for Barry totally ruining his and his mother's lives.
Very underrated movie.
+Ron Francisco
? It's a very very highly regarded movie
underrated in terms of Kubrick's canon
3 Oscars underrated?
But i got your point!
Underappreciated is the better term to use.
From the comments I've seen on TH-cam, somewhat overrated.
For Kubrick fans, try this for a thematic connection. Take Eyes Wide Shut at the scene of the masked ball, where Bill Hartford is forced to reveal himself to the guests. Line up that scene with this scene. Keep these things in mind. Both scenes take place on a palatial estate. Lord Bullingdon and Red Cloak are the English lords of their manors (and btw both characters are played by Leon Vitali, Kubrick's long time assistant). The anti-hero characters are both outsiders conning their way into high society, and both are played by Irish-American actors, O'Neal and Cruise. In both scenes their ruses are blown out by the English lords.
And yet there is a reversal. Lord Bullingdon crashes Barry's party, humiliates Barry before the guests, vows to go into exile, and leave his female protector to the mercies of Barry. Hartford crashes Red Cloak's party, but Red Cloak humiliates Hartford before the guests, sends him into exile, in exchange for his female protector's vow to "redeem" him, leaving her to the mercies of Red Cloak.
Thanks for sharing this.
Very interesting.
That fucked my mind thoroughly.
Why do you think Kubrick was driven to make these two scenes so similar to one another?
lol, Cruise's ball mask in Eyes Wide Shut was modeled off of Ryan O'Neal's face.
amazing!
You didn't mention what might be the most fascinating bit of overlap: the mask Bill Harford is wearing was cast from a mold of Ryan O'Neil's face.
This scene epitomizes the pathos of the film, and perhaps Kubrick's entire film catalog. Kubrick highlights here, as with many of his other films, man at odds with society. Kubrick isn't just talking about how we interact, he's questioning our entire social foundation - What are these rules we've created for ourselves, and how much do they compromise our true emotional spirit?
We see unaffected, emotionless characters throughout the movie, always keeping up an appearance of regal stoicism. It's almost too much to stomach. It's scenes like this which offer the audience a release; an instance of true emotional weight, boiling over and bared for all to see. It reminds us of the facade society has us create, the unnatural pressures of conformity, and how we're a fragile moment away from near-animal brutality.
This encapsulates Kubrick's most salient point of all - the importance of individual liberty. Just think of Pyle from FMJ, Alex from ACO or Redmond Barry here. Each character's individuality and true self is suppressed to satisfy the demands of society, often to the point of being unrecognizable. It is the sacrifice of human nature for perceived safety. Kubrick seems to ask: "Is this a price worth paying?" Or, at the very least, he intends to remind us the price we've paid is a high one. I, for one, think he's right.
Bravo. I agree with each and every one of your words sir
Yeah, Kubrick intented to tell us shit. This scene is a combination of three different episodes from the novel he turned into a film script. Just like Gomer Pyle killed the drill sergeant and himself in the novel Short-Timers which Kubrick turned into FMJ and just like whatever Alex did in the movie was a depiction of his actions in the original novel.
For the most part the pathos of Kubrick's entire film catalog was the creation of pretty or intense images and the interaction between weird, alien like, characters. A sort of "epater les bourgeois" tactic to make up for his uncurable inability to combine social critique with storytelling. As for the artistic and intellectual aspect of his work, he could always count on overzealous critics and fans creating a purpose and a deliberate aim where there was none to begin with.
Wow, quite good point!
mskidi that's pretty tough talk from who?? ...a nobody. that's who
Beautifully stated :)
Am I the only one who thinks Lord Bullington was really irritating? Yes, Lyndon had his faults for beating him but I did not like the Lord from the beginning.
Bullingdon is literally a pompous cowardly man child with an Oedipal complex. I don’t know how anybody sees him as the protagonist, he’s way worse than Barry.
He was insulting him since he was a child…
This scene feels like a gut punch. Throughout the whole film it's extremely still and professional from dialogue to cinematography, then out of nowhere we get this absolute rampage mixed with the unnerving screams of the audience. What a film.
first time I seen this I nearly shit myself laughing
+Heinrich Dorfmann The first time I saw this I found it very intense and frightening, which I don't have that often with violent scenes.
That slide into the brawl
The kid laughing when he walks back in. lol
@@PaulRietvoorn they say that all Kubrick movies are in some sense horror movies
@@Onmysheet he's fuckin' lovin' it!
Best time movie classic ever.... I thought I was living that time while I was watching the movie.. Like a time warp...
+Javier1967 Mauricio i had that feeling too , just epic
I read somewhere that Ryan O'Neal got caught up in the moment and accidently hurt Leon Vitale during this scene. They had to add more padding to Lord Bullington's costume to compensate. I also read that O'Neal and Vitale became good friends in real life.
I watched my new blu-ray of this movie just last night, 12 foot home theater screen. Be sure and watch this film on the biggest screen you can manage, because it is one of the most exquisitely crafted and detailed movies that has ever been.
You got the Kubrick box set?
Yes, absolutely. I've seen BL at least 150 times and it still takes my breath away.
coralarch I seen it for the first time the other day. lol
Onmysheet
How did you like it? I hope it wasn't on a TV- it really needs a huge screen.
coralarch It was a 30 inch plasma, but it's nowhere available on the big screen.
Definitely in my top list of films. Absolutely stunning, breath-taking and heartbreakingly beautiful visuals. Kubrick was way ahead of his time for films. The fact his films are still very much watchable to this day is a testament to his gift at making timeless and contemporary art.
One thing people gloss over is the humorous aspects of Kubrick’s work. This may have well been Jerry Springer, and when she returns to witness the brawl, her reaction is amusing.
as is that of the youngest Lord
@@tangogrrl Precisely
@@tangogrrlI laugh when I see him getting excited
2:14 "And enjoy all the benefits of the illustrious blood of the Barrys of Barryville." By our standards, Bullingdon is an atrocious snob which makes him so dislikeable. Yet, he is the victim of an opportunist gold digging and brutal stepfather. Everything he says about Redmond is correct, but he's so obnoxious and snobby in doing so that one feels very little sympathy for him. (Bullingdon truly believes that his "lineage" alone makes him to superior to others. Today, that's appalling, but in 18th century England that was as natural to someone like Bullingdon as breathing.)
I love both Scorsese and Kubrick, but Scorsese should take notes: Kubrick nailed it: THIS is what a real fight looks and sounds like!
PS, 4:30 - Barry, thinking: "Well, THAT escalated quickly..."
Heather Ferreira fuck scorsese racist piece of shit
Scorsese said this is among his favorite films, and one that deeply inspires him.
The Age of Innocence was another beautifully shot and written period film.
After that irishman scene I have to agree. First fight in gangs of NY had good build up but once it started the editing was a little jarring
What a well articulated speech!
"Don't you think he fits my shoes well, your ladyship? Dear child, what a pity it is I am not dead for your sake. The Lyndons then would have a worthy representative, and would enjoy all the benefits of the illustrious blood of the Barry's of Baryville. Would they not, Mr Redmond Barry?"
And what an insult! Since he started out with no title, no land, so all the benefits would be-- nothing. hahaha
_If he had murdered Lord Bullingdon, Barry could have scarcely been received with more coldness and resentment than now followed him in town and country. His friends fell away from him and the legend arose of his cruelty to his stepson._
a little off topic... but.. how did you ever manage italics?
Lord Bullingdon was a Chad
He was a coward… very much an incel
@@letsgetlit2829and Barry was just gold digger and basically cuckold of his wife (cause he didn't represented anything by himself), all he had was rich wife 😂😂
@@letsgetlit2829 idk if anyone who risks it in a duel is much a coward. He's also going to inherit all of the Lyndon estate, he's not left wanting for a little arousing attention
@@letsgetlit2829whaaat? He kept his fathers memory and never cowed to the Irish upstart, and publically berated a brutal war veteran, duelist and killer … then challenges him to a duel later!
He is a giga chad dude
@@Witnessmoo nah, he cried like a b**** in the face of death. Non Chad move.
RIP Leon Vitali. He really sold the scene, fantastic work esp. as someone who spent more time behind the camera than in front.
Dreadful news. I hadn't heard he'd passed away. RIP.
Am I the only one who was kinda rooting for Bullingdon this entire movie?
God I wish women still styled their hair like that.
Yes
they wore a lot of powdered wigs then too
The whole scene went from proper baroche cinematography to the most obscene reality-tv camera work. Quite effective I must say.
4:03 this guy came sliding in
I'm trying to make up my mind about this scene. On one hand, we might see that Barry's real (lower and uncouth) nature cannot change. He has put a mask all these years to serve his egotistical purposes and he proves he simply can't fit into the society he hopes. He doesn't have a noble upbringing. And this shows at its best here. See the difference between how Bullingdon (a lord) handles the whole situation without resorting to violence. Barry has been sitting there all this time acting noble but he can't pretend any longer. His real nature emerges. This creates a whole new chain of thoughts regarding the pressure we put on ourselves to fit in somewhere and repress our true nature.
On the other hand, could it be an attempt to show Barry's _human,_ passionate nature? A nature that is repressed and distorted in a conventional and rigid high-class upbringing?
Perhaps both.
I don't think it's supposed to be cut and dry. Barry wouldn't be such a tragic figure if he were two dimensional. Same with the duel scene later. Barry shows compassion by not taking the shot, and your immediate reaction to Bullingdon continuing the duel is disgust. But then you remember what a piece of shit Barry has been to Bullingdon for so long, and it's hard to argue against Barry having made this bed a long time ago.
@@daffyphack So true. I was about to debate you when you said the immediate reaction is "disgust" but then you went on to say what I was going to. I was rooting for Barry most of the movie, in a way, especially after seeing how great he was with Bryan. But I'm team Bullingdon no doubt of the two. Barry was selfish, mistreated his mom, disrespected his father's legacy, and abused him for standing up for what's right. I was very happy to see Bullingdon win in the end.
Rest in Peace
Leon Vitali
1948-2022
The Greatest Supporting Acting Performance in Cinema History.
Someone needs to edit in the sound of people yelling world star or saying "oooooh daaaammnn"
there is another video on my channel with this scene and "Guile's Theme" and I think it's pretty good.
Worldstar!
Worldstar!
fuck yes dude
No. Please. Just no.
the stark contrast between the polite, polished moments vs the angry beating of his step son
Great scene.... Many forget that even though Barry is the main character, Lord Bullingdon is actually the protagonist(good guy) and sees him for what he really is, an 18th century loser, gold digger, and narcissist.
Matthias Csatary Yes, this scene marks the beginning of the end of Barry in high society.
Matthias Csatary In one act Barry proves everything Bullington said.
Matthias Csatary Except Bullingdon was a malignant sociopath with a disturbing fixation regarding his mother. Barry was ultimately the most "honest" person of the lot of them while Bullingdon was a cowardly ponce surrounded by greedy people like Reverend Runt, who at least knew his place when he was trying to control the lady.
Kubrick wasn’t judging
protagonist doesn't mean "good guy" asshole.
The way the third guy slides in like a ref
Bullington also behaves like a jerk, but still everybody sympathises with him...toxic relationships.
3:54 That feeling when you’ve got your sibling in massive shit.
I LOVE THE 18th century
perhaps one day you shall have opportunity to venture whither, time travel should be along any day now
i hope they never will discover time travel! then who knows what horrible things people can do to change the present and the future :P
Grýps If you were the .3% of the wealthiest people in the U.K. you would certainly love the 18th century. However, most others were peasants, slaves, prostitutes, etc., even though it was possibly the peak of Great Britain's wealth, a time when they "owned" nearly 25% of the world's landmass.
yeah, George Washington was a pretty adventurous guy
Mortal Gunner
I love the 18th century and 19th century too, but I wouldn’t want to live during that time period unless I was rich. I would only visit.
This became my favorite Stanley film when I saw it 2 days ago. Watched all Kubrick films and left this one for last because I thought it would be bad but it was phenomenal
Here in this clip the Music of Bach has been played very very well especially tone of Harpsichord was so charming I wished to complete the concert then fighting as they wish
Bullington exposed Lyndon to what he really is and more. Bullington is the hero of this story even though he is not well liked by his peers, "And rightfully so" he said.
No one is a hero in this story.
Like the other guy said, there is no hero. There is no enemy.
@@nickimillennium Yeah he didn't exactly have any reliable father figures around.
Hero?? Yeah right! Barry may be a scoundrel, but he swindled his way into the so-called 'nobility'. Bullingdon is a snotty twerp.
Lol why can't an Irishman rob the Englishman of the wealth that came from the bloody carcasses of the Irish.
The great Leon Vitali
a key scene and still he spared him at the duel......
"I have borne as long as mortals could endure...." needs to come back as a phrase.
4:04 Gotta laugh at the bloke sliding in to first base….😂
1:08 one of the most powerful scenes in the history of cinema
"And with that one well-placed kidney punch, Barry's social climbing was no more".
I am playing the flute solo accompanied by Leslie Pearson on harpsichord in Petersham Church nr Richmond in London. Leslie noticed that the actress was moving her hands in a different direction from the line of Bach's music...so instantly 'composed' on the spot a 'Bach' line to fit the picture!! Genius and professionalism combined. ADRIAN BRETT
Is this solo in the original music?? What piece is this?
I need this answer also ! Obsessed and can't find it anywhere !!!! @@jeffrey4466
Barry bit right into it...hook, line and sinker XD
4:03 sliding tackle, red card ref!
Bullingdon is the Master of Ceremonies at the EYES WIDE SHUT party! 'now....get undressed! Remove your clothes...or would you like us to remove them for you?'
Amazing scene!
I am a kick-boxer myself and, believe me, It's almost incredible Bullingdon should be still alive after such a hiding !!
This is easily my favourite scene in the movie. The sheer brutality barry shows make it apparent that he had nothing but luck until this point. Barry was never smart or good with words or anything, he just threw is reputation and status away out of pure anger towards his step son. The amount of time it takes the "men" to react and do something is baffling. his step son finally stepping up to him in front of everything is so satisfying and berry does the songle worst thing in response. I like how berry was never outright bad, but rather self centered and sometimes, in contrast, selfless like when he saved that prussian officer, oh ... and of course when he shot the ground in the duel later. Truly a musterpiece
There is a reluctance to intervene because at that tiem in history, parents - even stepparents - had a free hand to do pretty much anything they wanted to their children. It woul dbe many years before there were any laws restricting how parents could treat or punish their children, it was called "the sanctity of the hearth". And of course they are stunned at the speech and Barry's reaction. Barry isn't entirely evil, but he's a cheat, a liar, he deliberately provokes carefully selected people into challenging him to duels which he knows they have no chance of winning,. he marries Lady Lyndon for nothing other than her name, he rmoney and gaining social position. He is horribly abusive to his stepson both mentally and physically. Pretty the only shred of decency in Barry was his love for his own son.
@@richardgregory3684 And his desire to stick it to the aristocracy.
@@kingstarscream3807 He wanted nothing more than to join the aristocracy. He married Lady Lyndon for two specific reasons, to obtain her money and hopefully to obtain her title - though marriage alone could not do this, as the title was already automatically passed to Lady Lyndon's son, even though a child; Lord Bullingdon. Barry specifically petitioned the king to grant him the title but it was refused. Throughout his marriage Barry quite openly had affairs and spent Lady Lyndon's money with abandon, usually trying to cultivate his social standing - in fact he ran up immense debts, all of which are called after socirty turns against him after the incident shown here. So much so that it almost ruins the family fortune, Lady Lyndon is shown signing cheque after cheque as her horrified accountant goes through the bills that have suddenly be called in.
It is from Bach's concerto for two violins BWV 1060, Adagio. There is also a oboe version thereof.
OK, thank you very much. I would have guessed Vivaldi.
You made my day!!
These English aristocratic gentlemen would never understand how heavy and powerful is Irishman's hand clutched into a fist when it falls onto your body as a sledgehammer. Why they barely held him in place.
That woman is stunningly beautiful. There are attractive people in many films but you would be hard pressed to find ANYONE that could surpass the incredible beauty of that actress. I mean, it's everything. Her eyes, her lips, her bone structure, her clear skin, the way her jaw and chin come together for a perfect face shape overall, the way she gazes at you, hell even the colour of her eyes is somewhat rare, etc... Most good looking people still have SOME flaws but not her. Even things like her neck is long and elegant like a swan.
Marisa Berenson appeared in Playboy around this time and if you liked her here, you owe it to yourself to find that pictorial.
She's no Romy Schneider.
@@colinmontgomery1956 Or Ursula Andress.
@@firenze5555 , great point.
@colinmontgomery1956 waaaay more exquisite beauty than Romi. I honestly think Romi was a little plain looking. Could name a dozen girls I know with similar looks
This scene made watching this film worth it for me.
Yes. SK was a bleeping genius. That's why I'm ordering this film on blu ray right now!
+Dennis .Brown
oh man it'll look gorgeous on blu ray
+Hugh G Wrection Yes. I have it on blu ray now. It's awesome.
upload
A film that deserves the highest quality possible
Barry reminds me of the people in Essex and Edgeware. They grow up without much, come into money as adults, and they live like kings, even though they don't really have the money to do it. They live in huge lavish houses, spend every penny they have, yet they keep a lot of low class habits. Then they lose all their money.
MondoBeno and then they all vote brexit, and ruin it for people with actual talent, as opposed to wheeler dealers like Alan Sugar and Richard Branson.
Even when they fight
They always look so fancy
After this scene watch the duel toward the end of the film between Barry and Bullingdon. It's one of the most brilliantly conceived duels in cinematic history. It also reveals that Barry was not a complete monster toward his stepson.
What gorgeous dialogue! !
The camerawork is so perfectly representative of what’s going on. Barry’s reputation, already hanging by a thread, is gone beyond saving. The trash shows his true pedigree. It goes from every scene a baroque painting to Jerry Springer.
The irony there is that Barry is behaving in a way that would have been completely natural to the Anglo-Norman lords all those gentlemen descend from. Henry II would have cracked any of his childrens' skulls for insulting him so grievously, so publicly.
A brilliant film, a work of art, beautiful costumes, scenery, and acting. Much of the scenery internal and external taken at Wilton House the home of Lord and Lady Pembroke, a stunning backdrop for many classical films.
3:37 "But, suddenly, I viddied that thinking was for the gloopy ones and that the oomny ones use like inspiration and what Bog sends" (Redmond Barry, probably)
that lower punch to back of the ribs
Sigma Male asserts dominance over his soyboy beta stepson (1775, colorized)
No wigs were harmed during the filming of this sequence.
Cinefix made me come here. I needed to see the whole scene.
I loved The Favourite and simultaneously deeply missed this movie
What makes Lyndon's attack of his step son so shocking... was bc, upto this point, Kubrick masterfully rendered the rules of 18th century gentlemanly etiquette and culture. Lyndon's disgrace and shame was a 1000 fold worse (not so much because he attacked his step son), but because of his PUBLIC Violation of societal gentlemanly rules.
really aggressive, reminds me of jake lamotta beating up his brother, very authentic violence
The reactions of the assembled crowd really make this. Especially the ladies, the ones who don't want to seem too interested but clearly can't look away either.
Goodbye Leon vitali thank for all🙌
Barry really doesn't get it when he attacks Bullington... he can win the battle but he will ultimately lose the war
I find it fascinating how Kubrick decided to portray Barry as an almost honest, good-natured man facing an oppressive and narrow minded nobility. In the book he's absolutely terrible, he basically kidnaps lady Lyndon and forces her to marry him, he's constantly drunk (even before the death of his son), regularly beats his wife, and loses everything to gambling. Lady Lyndon seeks help to put an end to the marriage but he checks her correspondence and prevents her from leaving the manor. This fight doesn't take place, Bullingdon simply tells his mom those things hoping that she would do something but she's too scared so he just leaves. The final duel (where in the film Barry shows magnamity to his clumsy step-son) is also absent: friends of lady Lyndon simply decide that enough is enough and banish Barry from the country. Also, Barry is not robbed on the way to Dublin but reaches Dublin safely and squanders his money in clothes, wine, and gambling, telling lies all the time. The book is almost comical in tone, even in the last chapters, which makes all that more acceptable. It would have probably been too much for the serious film Kubrick wanted to make.
Great input, thank you. Kubrick has always taken a great deal of creative license when adapting works to film. While I haven't read Barry Lyndon, I have read Red Alert, which Dr. Strangelove was adapted from. In that case, Kubrick took an otherwise serious novel about the risks of nuclear war and essentially inverted the ending and added a lot more comedic frills and one-liners to make it a black humor comedy. It sounds like in the case of Barry Lyndon, he did the opposite; adapting a comedy to a serious period piece. Since pretty much all of his films are adapted from existing literary work, I'm sure there are tons of examples of this elsewhere.
While I think trying to understand a director's intentions is a bit of an effort in futility generally-speaking, in the context of Barry Lyndon, we do have some context to go off of; Kubrick originally wanted to make a film about Napoleon Bonaparte, but given the commercial failure of a similar film released around that time, he pivoted to different source material from around the same time period, which ended-up being Barry Lyndon. I think Kubrick's execution of the portrayal of Barry as our "coming-of-age and fall from grace" protagonist better reflects the pacing and tone that we would have received from a more-or-less autobiographical film about Napoleon. In my personal opinion, shooting a 3-hour long film possessing some of the most groundbreaking cinematography captured on celluloid, and having the subject matter be... a perpetual drunk... would be... a strange choice. No matter the underlying reasons for Kubrick's creative license, I'll take it.
2:00 love xvii century trashtalkin, so vicious and yet so gentle
XVIII Century :P
Hamlet wins in the end though, so it's all good.
Kubrick was the master when it came to visual storytelling
Lord Lyndon really knows how to be "EXTRA" at the wrong time...the audience probably remembered this fight into the 19th century
This is my favorite scene from this movie. This is pure chaos
Imagine watching all the very neat, static , well-structured shot along the way and hit by this scene. It’s just 😮😮
I love the way it opens up so peacefully, too peacefully....
Stocking feet publicly never ends well..... he KNOWS THIS.
Hey bro. I am a TOTAL tubesocks and very floppy sneakers perpetual JV (Junior Varsity) baseball jock from 1985 and am in my stocking feet all the time. Doesn't always end well for me, that is true!! LOL :) JV Johnny
OMG. Just. F@#$%^g briliant! Proof that Kubrick is an artist. Like Shakespeare, like Mozart, like Picasso. An artist.
its not movie its Masterpiece...