Barry Lyndon
| Movie | |
|---|---|
| German title | Barry Lyndon |
| Original title | Barry Lyndon |
 | |
| Country of production | UK , USA |
| original language | English , German , French |
| Publishing year | 1975 |
| length | 177 minutes |
| Age rating | FSK 12 |
| Rod | |
| Director | Stanley Kubrick |
| script | Stanley Kubrick |
| production | Stanley Kubrick |
| music | Leonard Rosenman |
| camera | John Alcott |
| cut | Tony Lawson |
| occupation | |
| |
Barry Lyndon is a British - American costume drama from the year 1975 by Stanley Kubrick . It is based on the novel The Memoirs of Junker Barry Lyndon (1844) by William Makepeace Thackeray . The action takes place in the 18th century and follows the rise and fall of an Irish adventurer who strives to take a place in the English aristocracy . The title character is played by Ryan O'Neal , Marisa Berenson plays Lady Lyndon. The three-hour film won four Academy Awards for equipment , cinematography , costume design and music adaptation.
action
The plot is commented on and foretold by an omniscient narrator from the off . The film consists of two parts, which were introduced in the form of subtitles and interrupted by an intermission . At the end there is a short epilogue , also in the form of a subheading.
1st chapter
Text of the subtitle: Part I - By what means Redmond Barry came to the name and title of Barry Lyndon
The young Irish nobleman Redmond Barry falls in love with his cousin Nora (Gay Hamilton). Because the British officer John Quin (Leonard Rossiter) is also trying to win their favor, he challenges him to a duel. His cousin's family, who see the officer as the better match, manipulates the course of the duel and makes Redmond believe that he shot his opponent. Armed with his mother's savings, Redmond must flee towards Dublin , but is ambushed and robbed on the way. Now penniless, he volunteers for the British Army , which is fighting alongside Prussia in the Seven Years' War . There he meets his fatherly friend Captain Jack Grogan (Godfrey Quigley) again. During a skirmish in Germany, he was fatally wounded while marching next to Redmond. Redmond has had enough of the war now; he found a way out when he overheard two officers bathing. He learns that one of them is carrying a dispatch for Bremen. Redmond takes the opportunity, steals the uniform with the document and tries to desert to neutral Holland . But the escape fails: He is exposed by the Prussian officer von Potzdorf (Hardy Krüger) and forced to serve in the Prussian army .
Redmond succeeds in winning von Potzdorf's favor. He is finally assigned by his uncle, a minister in Berlin, to watch the Irish-born Chevalier de Balibari (Patrick Magee), who is suspected of being a spy . When Redmond introduces himself to the Chevalier, he suddenly feels a strong compatriot bond with the Irishman, who also lives abroad. Redmond reveals himself to the Chevalier and from now on works as a double agent for the Chevalier and the Prussians. When the Chevalier as a cheater in political entanglements falls and the country is referred to, he settles with Redmond from Prussia. The two move as cardsharps from one European court to the next, Redmond has the task of collecting the profits.
On these trips Redmond met the rich Countess Lyndon ( Marisa Berenson ) and began a relationship with her. After the death of their elderly husband, who is in poor health, they get married. Redmond takes the name Barry Lyndon and fathered a son, Bryan (David Morley) with the Countess. He now belongs to the upper class of society and has his wife's considerable wealth at his disposal. However, Barry still lacks a title of his own . On the death of his wife, her son from the first marriage, Lord Bullingdon (Dominic Savage), would inherit the property.
Part 2
Text of the subtitle: Part II - Contains a report on the misfortune and the disasters that happened to Barry Lyndon
In order to obtain a title of nobility from the king , he used large amounts of money to make himself known and popular at court. The relationship with Lord Bullingdon is increasingly shaped by violence. During a concert, Bullingdon provokes a scandal. He has taken off his shoes and only enters the hall with white stockings on his feet. Bullingdon leads his little half-brother by the hand, who wears his shoes that are much too big. He wants to symbolize how he is treated at home, because his heir's shoes were taken off and his half-brother was put on. In front of all the guests he questions his mother's love and announces that he will be leaving his parents' house. He also provokes and insults his stepfather. This then beats up Bullingdon in front of the numerous guests.
Due to this derailment, Redmond, now Barry Lyndon, becomes a persona non grata with the English nobility and destroys his chances of obtaining the desired title of nobility. In debt and abandoned, Redmond also has to see the death of his only birth son, who fell from his horse, and is finally challenged to a duel by the grown-up stepson ; as a result of a gunshot wound he loses a lower leg. Ultimately, Lord Bullingdon actually forced him to leave England forever in exchange for a decent annual pension. His wife does not follow him, he will never see her again. He is now trying unsuccessfully to resume his previous job as a cardsharp. The final scene shows Lady Lyndon writing a check for Redmond's annual pension. The check is dated to the year 1789 , when the French Revolution will finally pave the way for the new age of the Enlightenment , both socially and politically .
epilogue
The text of the subheading reads: Epilogue - It was during the reign of George III. that the aforementioned people lived and quarreled; good or bad, beautiful or ugly, poor or rich, they are all the same now.
Language of images
From the very first minute of the film, Kubrick points out one of his recurring themes: man's powerlessness over a grand scheme of things. Without any drama, the voice-over and the pictures tell of the father's death in a duel. Shot from a distance, the first shot already gives a foretaste of the cinematic representation of the events. The figures appear small, almost insignificant in the midst of the nature depicted. What happens seems to be important only insofar as it is decisive for the further course of the story and for the characters in the film. Many settings start with a detailed recording. Then the camera gradually zooms into the long shot and reveals the entire, artfully constructed scenery, which often looks like a tableau vivant or a painting. This technique deliberately reinforces the still life character of the narrative panorama, of little people on a large stage of fate represented by Kubrick, also aesthetically. The backward movement of the camera angle used by Kubrick is taken to extremes by him in this film, almost every scene is introduced with a backward zoom. And he deliberately uses a zoom and no reverse movement of the camera, which would have created a completely different perspective and effect. At the same time, the film often appears quite intentionally like a photographed painting: flat and without depth. The film is often completely wordless and the images speak for themselves.
In addition to the story of the rise and fall of a man, the work is not a film about the 18th century , but rather about the art in it. Many of Kubrick's large format photographs are based on paintings of the time, particularly by John Constable and Thomas Gainsborough . Gainsborough, if known to the film viewer through portrait and landscape painting, can be experienced when looking at some of Kubrick's Tableaux vivants in the film. The way Kubrick portrays it, paintings and art will only continue to be able to tell of a time that no longer exists in this form, but whose content is still noticeable today and has fundamentally not changed in any way. What remains is art that lets you experience a world long past again and again. Thus, art seems to be the only way to defy the merciless disappearance of a time, an epoch, and thus also its people.
Barry Lyndon is a film with many stops. Barry is first portrayed as a passionate lover, later as a notorious liar, pugilist, soldier, deserter, informant, impostor, cardsharp, money collector, dowry hunter, spendthrift and upstart. Then the first part of the film ends and he positions himself as a husband. This heralds the second part of the film, in which Barry no longer appears as a seeker, but as a man at the destination of a path. Instead of different stations and the way there, closed rooms and a permanent home in the form of a castle appear in the film.
When the director reconstructed the era of that time with great meticulousness, which culminated in the fact that interior shots were only illuminated with candlelight, he not only led to an approach to a bygone world, but also made a distance visible that today's film viewers from 18. The century separates them and endows them with an unbridgeable strangeness. Intentionally or not, however, the result of this striving for authenticity is not realism, but among other things a strangely unreal, floating light mood that, like cracks and yellowing on an old oil painting, becomes a visual component of the temporal distance that we see from the filmed scenes Seems to keep their distance. This also happens as a visual contrast to the theory of the enlightenment of enlightenment and illumination of a previously allegedly dark Middle Ages. In Kubrick's work, the symbolically charged interior shots in the semi-darkness of the candlelight unfold the morbidity of a crumbling work of art or that of a time that is already in dissolution.
Film music
Besides the pictures, the music by Barry Lyndon is also worth mentioning. The film's soundtrack contains pieces by Georg Friedrich Handel , Johann Sebastian Bach , Antonio Vivaldi , Giovanni Paisiello , Wolfgang Amadeus Mozart and Franz Schubert ; the musical works existed at the time of the film, with the exception of Schubert's (* 1797). There was also traditional Irish music by the group The Chieftains . When using the Hohenfriedberg March , however, Kubrick made a historical mistake: The text sung by the Prussian soldiers in a pub scene was only underlaid with the march melody in the middle of the 19th century. The piece most associated with the film is Handel's Sarabande (from the Suite in D minor HWV 437 ). Once again, Kubrick used pieces of music very skilfully in terms of film technology and artistry and, as before, by using a Strauss waltz in his science fiction film 2001: A Space Odyssey, set real milestones in film history.
Literary template
In contrast to Kubrick, the novel by William M. Thackeray uses the first-person narrative style, which allows or even requires the reader to identify directly with Lyndon. What Kubrick has in common with Thackeray beyond the satirical undertone of the narrator is the distrust of those in power and the conviction of their uselessness, which only manifest themselves in different epochs and therefore differ from each other owing to their respective time. Kubrick was aware that the strange and sometimes deliberately wrong representation of Barry's history in Thackeray's novel on the screen in connection with the images that did not match the narrative would not have been well received by the audience later. That is why the narrator in the film reports objectively and also appropriately to the images to be seen. While in the novel the story is told rather briskly and with humor, in the film the narrator emphasizes the tragedy of the event - albeit with an occasional satirical undertone.
Thackeray's contemporaries once showed little sympathy for the novel. That had a lot to do with the fact that his main Irish character, true to the tradition of picaresque novels, possessed a considerable amount of unpleasant qualities, cared little about morality and culture, displayed brutality if necessary and thus spent almost twenty years in the London canal Spent in jail . Thackeray's trick is to create Barry Lyndon's adventurous tale that spanned Europe between 1760 and 1785 as a fictional autobiography. The boastful autobiographer is the perfect example of a narrator who cannot be trusted. It is therefore up to the reader to assess what has been reported and to come to an independent judgment about Lyndon. Because the novel has a narrator who even mentions several times that not everything he says has to be right. The novelist simply replaces historical accuracy with reports supposedly brought to him. The figure of an anti-hero like Barry was a reinvention for Thackeray's time.
Thackeray shines in the novel with satirical wit, quasi cosmopolitan access and extravagant pleasure in describing milieus. The novel Die Memoiren des Junkers Barry Lyndon is one of the great literature of European realism - even if Thackeray cannot compete with the popularity of his compatriot (and competitor) Charles Dickens , at least in German-speaking countries. In this country, knowledge of his oeuvre rarely goes beyond the novel Vanity Fair . Although the memoir story - first published in 1844 as a serial novel and in 1856 in book form - received some attention through Kubrick's film adaptation, it continued to go unnoticed by a broad readership.
The novel was inspired by real models, but also by the life stories of Giacomo Casanova and Beau Brummell . The duel towards the end of the film does not take place in the novel, and the two homosexual soldiers bathing in the river are also missing .
interpretation
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Kubrick also uses architecture, fashion and the visual arts of the 18th century as elements in a kind of iconography in other film examples of the most varied of genres and frameworks , without mirroring the literature, entertainment of the time and thus the prevailing zeitgeist from a philosophical point of view . The baroque pessimism of the 17th century was still shaped by the idea that everything earthly is perishable. With the beginning of the Enlightenment in the 18th century, a more optimistic view emerged, in that the finiteness of everything earthly is now viewed positively as a prerequisite for progress. Despite the widespread theses of the Enlightenment , the nobility ruled almost unchallenged for most of this century , in some countries in the manner of absolutism .
There are baroque elements in very different films by Kubrick, such as the castle as an icon in Paths to Fame (1957); a white, sterile “white room” , furnished in the style of the 18th century, at the end of 2001 (1968); a final vision scene , characteristic of the Ancien Régime , in Uhrwerk Orange (1971).
The work of Barry Lyndon is altogether a mixture of pictorial influences of this century, the epoch of the Enlightenment, on the work of Kubrick. But Kubrick puts people in itself and in its own way as a small, helpless and almost insignificant represent the midst of these relationships is the human being in a mixture of education, science, culture, art and a superior power -. As in "white room" shown on film without any real possibility of intervening in a presupposed grand scheme of things ( fate ).
- “Kubrick's artistic engagement with the Enlightenment is less about the specific historical epoch than about its model character. Even though the quoted quotations clearly refer to a specific historical context, they ultimately conceal the attempt to make that model-like principle of appropriation of the world that we are accustomed to call Enlightenment visible on film. "
The era of the Enlightenment seems to have exerted a certain fascination on him, due to its total attachment to the principles of pure reason, which at the same time probably brought a certain disillusionment for him. If the viewer asks the question to what extent the film applies principles of pure reason, he will only find reason there if he equates this with the emotionless narrative style and the actors who seem quite composed in their emotions for Hollywood film productions . The increasing elimination of emotions in the course of the plot is intended by Kubrick; whether this can be equated with real reason remains questionable. When looking at content-thematic aspects, a number of key points are repeated in the course of his films, such as the topic of dehumanization in its various variants. In this film this is realized explicitly by suppressing emotions in the form of distance, isolation, determination, rigidity and, last but not least, in the form of violence. One of the exceptions is the scenes of the married couple with their child. Overall, however, even the facial expressions of the actors are limited by the thick layers of powder, which were quite appropriate to their time, and thus appear mask-like.
Another central scene that is an exception is the duel with his stepson. Here Lyndon is clearly portrayed as personable again. He is facing someone who is emotionally weaker, at this moment the masks fall. Not Bullingdon is a gentleman in consideration here, for whom he and his kind only pretend, but Lyndon. The scene can still be interpreted as something else, in the direction of freedom and individuality. All of Barry Lyndon's previous decisions were more or less forced: out of situations, imposed by others, determined by his character. At the beginning of the duel, Bullingdon unintentionally fires his shot unintentionally at his own feet. In this situation, Lyndon's choice seems free for the first and last time. He decides to fire his shot next to him, including in the ground. Even when Bullingdon tries again, it seems to be Lyndon's free choice to face it. Whether Lyndon really decides more as a gentleman and noble, as a player challenging his lot or as someone who has already given up before his fate remains questionable.
At that time, a duel was basically designed to let fate decide. After both the court battle and the knightly feud had become meaningless at the end of the Middle Ages , the modern duel, which took over and developed essential elements of both forms of conflict, developed into a downright fashion. As the duel was shifted from legal life to the private sphere, at least the fateful-religious dimension of decision-making was gradually lost and was replaced by the corporate concept of honor . Drawn barrels with dueling pistols, for example, and thus weapons that are accurate at a distance, were considered unsportsmanlike, especially in England. A duel shouldn't be a competition there either, but a fateful decision.
Lyndon is not so much a person as a medium, mediator between the elements of the structure of this society, cinematically designed. This makes it appear as a necessary evil and at the same time is not a real part of it. The plot seems almost insignificant compared to the lavish decor: It's about a man who makes a career by unconditionally accepting and exploiting the gullibility and at the same time the frivolous unscrupulousness of his era. In the second part of the film, Lyndon and Lady Lyndon find their lives for a short, fateful time in a radical style will of their epoch, they want to become pure form without content, masks without character exactly in the style of their century, just as individuality and historical morality are in reality their century Abomination is and the beautiful appearance is everything. The film tells four emotional stages of the main character Barry Lyndon: naivety , cynicism , ignorance and tenderness. Kubrick's pessimism is probably not so much the depicted indispensability, which causes his main character to fall, but rather the fact that his fall only begins with an emotional purification. In Lyndon, the viewer encounters a disastrous figure in a broken society, but who is hardly better than him; and just as he takes advantage of them, he is also shamelessly exploited by them in an attempt to obtain the title "Lord". Lyndon is a morbid figure, just like the social system of his time, and this in turn - just like him - is inevitably doomed. At the beginning of the action, as a lover, he respects the rules of social decorum less than his passion. It is only as his social advancement continues that that emotional integrity begins to wane. The decent and appropriate social norm as a means of advancement is increasingly replacing this integrity.
When he made a film of the novel, Kubrick did not adhere strictly to these, but limited himself to a few storylines from it. While Thackeray wrote the novel in the first person from the perspective of the protagonist - in the European tradition of picaresque novels in Spain of the 16th century - the film features a distant off-screen narrator. The sometimes unusually slow action is told more than shown in the film. The impression arises as if Kubrick wanted to contrast the slowness of life in the 18th century with today's fast pace, which can also and especially be found in today's film. What may seem like a picaresque novel or an adventure film in the description of the plot becomes a social painting that is unique in its consistency under Kubrick's direction. The film is not primarily interested in telling an exciting story. Lyndon's end and his unsuccessful efforts to rise in the social hierarchy also emerged early on. As is so often the case with Kubrick, the viewer sees an individual fighting a hostile environment, a fight that is portrayed as hopeless from the start. The narrator anticipates the outcome of the scene from the beginning of the film, which on the one hand eliminates tension and on the other hand immediately creates an impression of inevitability and isolation. It is noticeable that the starting point of the film is the only point where the narrator speaks unmistakably in the form of possibility . All other narrated passages anticipate the same, but leave no room for the question “What if?”. On the one hand, Kubrick dictates to the viewer his view of Lyndon, on the other hand, the ironic undertone in the narrator's speech proves, who claims that Redmond Barry's father could have a bright future in front of him if he weren't in a duel had ignited in the dispute over the purchase of some horses (a trifle in itself, which increases the ridiculous aspect), was killed. Already here reference is made to the fact that the course that Redmond Barry's life will also take is mapped out. So it does not surprise the viewer when in the first part of the film the circumstances of the time, his origin and his character determine his fate as well as in the second part, when he tries - albeit in many points counterproductive - to determine this himself than to pursue a title of nobility.
The structure of the film resembles a triangular construction, at the corners of which lie the three most decisive factors in the depicted life of Lyndon and, for Kubrick, probably also the time in which his film plot is set. It is love, war and money that are the three cornerstones of the film. According to Kubrick's presentation, these three things also determine human searching today. All striving, action and suffering are relativized by Kubrick at the end with the epilogue quoted above and almost cynically declared useless.
The fact that the time frame of the film ends with the beginning of the French Revolution and the words "now everyone is equal" was chosen by Kubrick deliberately. In the film, the exact opposite of "freedom, equality and fraternity", the catchwords of the epochal event, is shown. With the beginning of the revolution mentioned at the end of the film and with the reference to the fact that all protagonists are certainly long dead, two great equalizers are brought into play - a clear reference to the fact that class differences no longer play a role in the French Revolution as well as in death play.
background
Kubrick had long planned to make an epic movie about Napoleon Bonaparte . But after hearing about the film Waterloo by director Sergei Bondarchuk , which was dealing with the same subject, he gave up this plan. Barry Lyndon is based in part on the extensive research Kubrick did for the proposed Napoléon film.
The films Kubrick made in the 15 years before Barry Lyndon - Lolita , Dr. Strange , 2001 and Uhrwerk Orange - had all given rise to heated discussions. Barry Lyndon was in a way out of line: the plot was neither an open provocation, nor did the film contain many revolutionary innovations as in 2001 . Kubrick, on the other hand, tried with Barry Lyndon to make the beauty of baroque painting and music tangible on film and to reproduce the life of that time authentically. The spectacular images, which are strongly reminiscent of portraits from that time, are primarily what Barry Lyndon is known for. In order to authentically reproduce the mood of Rococo pictures, Kubrick shot some scenes entirely in candlelight, i.e. without electrical lighting. This was made possible by using an extremely fast lens ( Planar 0.7 / 50 mm ), which was originally manufactured by Carl Zeiss for NASA . In addition, extremely light-sensitive film material was used to enable difficult shots that previously seemed unthinkable. Nevertheless, the film had to be underexposed by one f-stop, which, however, could be compensated for within limits by changing the chemical development of the film. However, this so-called push development has, among other things, a significant influence on the contrast range and color rendering, which can be clearly seen in Barry Lyndon . Ultimately, however, used as a stylistic device, this enabled an unprecedented visual mood. But it is not without reason that the number of candles used increases continuously in every night scene in the film.
Another background was: The clothing of the film actors was either acquired as old originals at auctions, loaned from private collectors and museums, or made to match the original paintings. For the reconstructions, Kubrick even had research conducted in Ireland, France, Italy and India for materials that corresponded to those of the 18th century. During these preparations, however, he discovered that fabrics and colors of that time often had a completely different effect when exposed to electric light than on traditional paintings. While production was still in progress, to everyone's surprise, he decided to shoot all night scenes by candlelight.
Barry Lyndon was filmed on 35mm film in Ireland , England , the FRG ( Residenzschloss Ludwigsburg ) and the GDR ( Neues Palais in Potsdam ) . The Communs of the New Palace at the western end of Park Sanssouci were supposed to represent Unter den Linden , the New Palace itself looked like a Berlin palace from inside and outside . (In 1763, at the time of the filming, the actual construction of the New Palace under Frederick the Great began.) Dunrobin Castle in Scotland can also be seen.
It is the only Stanley Kubrick film that did not recoup its box office production costs; since that flop , Kubrick had to do test screenings with his films.
Since July 2016, on the initiative of the British Film Institute , the film has been shown again in selected British cinemas on its 41st anniversary.
Reviews
"Kubrick's consistent will to style and the artistically controlled effort down to the last detail make this film a large, multi-layered portrait of the times in which private and social dimensions are seamlessly combined."
“In his bold film adaptation of the melodramatic fable full of amours, intrigues and duels, Kubrick violated Hollywood's mercantile staging conventions so rigorously that it wasn't just the managers of Warner Bros. who were amazed. According to the New York Times , the fact that this film has even been funded and is going to hit theaters is “ just as startling” as the form of the film. [...] Kubrick wanted to make a film that would visually and emotionally transport the viewer into the 18th century; the film should appear as if it had been directed by a filmmaker in the 18th century. Kubrick succeeded in creating images that have never before been seen in the cinema. "
“What Kubrick simply calls the 'interesting visual possibilities' of Thackeray's template turned into an epic panorama of visual magnificence that dwarfs even the delirious trip to the stars in '2001: A Space Odyssey'. […] Essentially, Kubrick faithfully follows Thackeray's proposal. But beyond changing the narrative perspective, there are some significant changes. The final duel between Barry Lyndon and Lord Bullington, his stepson, does not take place in the novel. At Thackeray's, Barry ends up, quite prosaically, in the debtor's tower . Instead, Kubrick invented a six-minute long crescendo of fear that increased to unbearable, accompanied and commented on by a saraband of Handel . "
Awards
- Best equipment - Ken Adam , Roy Walker and Vernon Dixon
- Best Cinematography - John Alcott
- Best costume design - Ulla-Britt Söderlund and Milena Canonero
- Best music adaptation - Leonard Rosenman
Kubrick was nominated for an Oscar in three categories:
- Best movie
- Best director
- Best adapted script
Barry Lyndon also won:
- National Board of Review NBR Award : Best English Language Film and Best Director
- British Film Awards : Best Director and Best Cinematography
- Los Angeles Film Critics Association Awards : Best Cinematography
The film was also selected in the 2005 Time selection of the best 100 films from 1923 to 2005 .
synchronization
The German synchronization was created in 1976 under the direction of Wolfgang Staudte .
| role | actor | Dubbing voice |
|---|---|---|
| Redmond Barry / Barry Lyndon | Ryan O'Neal | Jörg Pleva |
| Lady Lyndon | Marisa Berenson | Katrin Miclette |
| Captain Potzdorf | Hardy Kruger | Hardy Kruger |
| Reverend Samuel Runt | Murray Melvin | Hans Clarin |
| Lord Bullingdon | Leon Vitali | Andreas von der Meden |
| Lt. Jonathan Fakenham | Jonathan Cecil | Wolfgang Draeger |
| Barry's mother | Marie Kean | Tilly Lauenstein |
| Captain Grogan | Godfrey Quigley | Gottfried Kramer |
| Bryan Patrick Lyndon | David Morley | Scarlet Cavadenti |
| Chevalier de Balibari | Patrick Magee | Friedrich W. Building School |
| Lord Wendover | André Morell | Hans Paetsch |
| teller | Michael Hordern | Siegmar Schneider |
literature
- Ralf Michael Fischer: Space and time in the cinematic oeuvre of Stanley Kubrick. (= New Frankfurt Research on Art. Volume 7). Gebrüder Mann Verlag, Berlin 2009, ISBN 978-3-7861-2598-3 (also dissertation University of Marburg, 2006).
- William Makepeace Thackeray : The Memoirs of Barry Lyndon, Esq. Recorded by himself. (Original title: The Memoirs of Barry Lyndon, Esq. ). German by Otto Schmidt. With illustrations by John Everett Millais and William Ralston . Construction Verlag, Berlin 1996, ISBN 3-7466-1161-X .
Web links
- Barry Lyndon in theInternet Movie Database(English)
- script
- Interview with Stanley Kubrick about the film in Der Spiegel. 38/1976.
- The literary source by William Makepeace Thackeray on Project Gutenberg (English)
swell
- ↑ a b c d Kay Kirchmann: Stanley Kubrick. The silence of the pictures. Schnitt Verlag, Bochum 2001, ISBN 3-9806313-4-6 .
- ^ A b Stanley Kubrick: Barry Lyndon. Warner Brothers, 1975.
- ↑ Fernand Jung, Georg Seeßlen: Stanley Kubrick and his films. Schüren Verlag, Marburg 1999, ISBN 3-89472-312-2 .
- ↑ Thomas Allen Nelson: Kubrick Inside a Film Artist's Maze - New and Expanded Edition. Chapter 7: Barry Lyndon: A Time Odyssey. 2000, ISBN 0-253-21390-8 .
- ↑ a b Ingo Vogler: Literature of the 17./18. Century. (PDF) November 1, 2015, accessed on September 21, 2016 .
- ^ Geoffrey Cocks: The Wolf at the Door. Stanley Kubrick, History & the Holocaust. New York 2004, p. 129.
- ^ Geoffrey Cocks: The Wolf at the Door. Stanley Kubrick, History & the Holocaust. New York 2004, p. 130.
- ↑ Georg Seesslen, Ferdinand Jung: Stanley Kubrick and his films. Marburg 1999, p. 208.
- ↑ a b Marc Vetter: 40 years “Barry Lyndon”: The most beautiful film of all time. Rolling Stone, December 18, 2015, accessed September 21, 2016 .
- ↑ Rainer Moritz: A splendid villain. Deutschlandradio, January 28, 2014, accessed on September 21, 2016 .
- ↑ Kay Kirchmann: Stanley Kubrick. The silence of the pictures. Schnitt Verlag, Bochum 2001, ISBN 3-9806313-4-6 , p. 53.
- ^ Geoffrey Cocks: The Wolf at the Door. Stanley Kubrick, History & the Holocaust. New York 2004, p. 128.
- ↑ Thomas Koeber (ed.): Film directors. Biographies, descriptions of works, filmographies. Stuttgart 1999, p. 370.
- ↑ Ulrich Behrens: History in Film - Film in History: A small foray through film history. 2009, p. 226.
- ↑ Randall Collins: Dynamics of Violence: A Microsociological Theory. Chapter 6: Staging Fair Fights. Hamburg 2012.
- ↑ Fernand Jung, Georg Seeßlen: Stanley Kubrick and his films. Schüren Verlag, Marburg 1999, ISBN 3-89472-312-2 .
- ↑ a b Andreas Kilb, Rainer Rother and others: Stanley Kubrick. Berlin 1999, p. 185.
- ^ Film: Light from 1000 candles. spiegel.de
- ↑ Annette Dorgerloh: Potsdam palaces and gardens as locations for feature films. In: Annette Dorgerloh, Marcus Becker (Hrsg.): Alles nur Kulisse ?! Film rooms from the Babelsberg dream factory. VDG Weimar 2015, ISBN 978-3-89739-845-0 , p. 76f.
- ↑ In cinemas: Barry Lyndon. From bfi.org.uk, accessed June 19, 2016.
- ↑ Barry Lyndon. In: Lexicon of International Films . Film service , accessed March 2, 2017 .
- ^ Film review Light from 1000 candles. In: Der Spiegel. 1/1976.
- ^ Film review Cold distant beautiful world. In: Die Zeit 39/1976.
- ↑ voice actor database by Arne Kaul
- ^ Dubbing actor in German dubbing files