History Film / BarryLyndon

* AllForNothing: Barry's attempts to obtain a title have him ingratiating himself within the upper echelons of society as well as frivolously spending the Lyndon family's money to the point of financial ruin. Everything he's worked for goes out the window when he publicly assaults Lord Bullingdon in a fit of rage.

* BigBrotherBully: Lord Bullingdon barely tolerates his younger half-brother Bryan. He spanks him for raising a ruckus over a pencil and later uses him in creating a scene to humiliate both his mother and Barry. It is heavily implied that he resents Bryan for being his mother's son by Barry, who he loathes with a passion. [[spoiler: When he decides to reclaim his estate by dueling Barry, he does so to avenge the years of mistreatment he endured at the latter's hands and doesn't even acknowledge Bryan's death.]]
* BitchInSheepsClothing: Barry's mother. She is introduced as a sweet old lady who is devoted to caring for her son after her husband's death. Once she reappears in the second act, however, she reveals herself to be a full on LadyMacbeth and ManipulativeBitch who cares nothing for Barry's new family and is willing to use them to ensure her and her son's welfare.

* GreyAndGrayMorality: Barry versus the world. Barry does what he has to in order to survive, even sinking to very low methods when he has to and never against someone who could be considered evil. [[spoiler: In the second act, this turns into BlackAndGrayMorality with the opportunistic Barry working against his step-son, a young man who's life he is effectively ruining but is not much better in terms of good character. It could even retain its [[GreyAndGrayMorality grey on grey status]] or even be an EvilVersusEvil [[AlternativeCharacterInterpretation depending on how one views]] both men.]]
* HeroAntagonist: Downplayed significantly with Lord Bullingdon. From a moral standpoint, one could easily argue that he is a lighter shade of grey when compared to Barry. At the same time, however, he comes off as a bigoted, cowardly, and narcissistic young man whose hatred of Barry derives as much from the latter's humble origins as much as him being a poor step-father. When the time comes for the final duel, Bullingdon defeats Barry in such a bad form that it comes off not so much as a young man reclaiming what is rightfully his, but rather that of a DirtyCoward [[KickThemWhileTheyreDown kicking his opponent when he's at his weakest]]. So much so that the whole affair leaves a sour taste in one's mouth.
* HistoricalVillainDowngrade: Barry in the original novel was loosely based on Andrew Robinson Stoney. While Barry slides from naif to rogue to SympatheticVillainProtagonist, he retains some humanity; Stoney was just a sadistic psychopath.

* IAmNotLeftHanded: Averted. Barry really is left handed and is able to soundly defeat different opponents with pistols and swords. [[spoiler: He mostly likely would have defeated Lord Bullingdon this way had his conscience not interfered.]]

* ProtagonistJourneyToVillain: Barry starts out as a love-sick young man whose passions are rejected in favor of monetary gain. From there he goes through life constantly getting the short end of the stick all while learning to adapt to his surroundings by lying to and conning other people. By the film's second half, Barry has become a willful participant in the morally depraved society he finds himself in and has become a ruthless con man, social climber, an unfaithful husband, and abusive stepfather. [[spoiler: He turns out to be a possible subversion of the AlternateCharacterInterpretation variety depending on how one views his sparing of Lord Bullingdon.]]

* UngratefulBastard: [[spoiler: During the final duel, Barry has Lord Bullingdon at his mercy, but throws the duel because he sees part of himself in the younger man. Bullingdon, however, is unmoved and gleefully shoots a defenseless Barry. Possibly justified if one takes into account the years of mistreatment Bullingdon suffered at the hands of Barry.]]

* AllForNothing: Barry's bid to obtain a title has him ingratiating himself within the upper echelons of society as well as frivolously spending the Lyndon family's wealth to the point of financial ruin. Everything he's worked for goes out the window when he publicly assaults Lord Bullingdon in a fit of rage.

* AllAreEqualInDeath: The epilogue reads "It was in the reign of George III that the aforesaid personages lived and quarrelled: good or bad, handsome or ugly, rich or poor, they are all equal now". See also the original novel.

* {{Deconstruction}}: Most period films of European settings before Kubrick, and after him as well (such as the films of Merchant-Ivory), tended to tell a RoseTintedNarrative of aristocrats living a life of sophistication and good manners. ''Barry Lyndon'' was one of the first to show this period by emphasizing [[ValuesDissonance the strangeness]] of aristocratic social rituals as well as highlighting the ruthless class structure that they were intended to endorse. Kubrick moreover achieves this by avoiding AristocratsAreEvil and glorifying his SocialClimber hero, he simply shows the power and means at the disposal of the upper classes and that however much an outsider can break in, he can easily be cast out with nothing to show for it.

* DirtyCoward: Captain Quinn.
** Lord Bullingdon as well, considering his final act of defiance.

* HeroAntagonist: [[spoiler: Downplayed significantly with Lord Bullingdon. From a moral standpoint, one could easily argue that he is a lighter shade of grey when compared to Barry. At the same time, however, he comes off as a bigoted, cowardly, and narcissistic young man whose hatred of Barry derives as much from the latter's humble origins as much as him being a poor step-father. When the time comes for the final duel, Bullingdon defeats Barry in such a bad form that it comes off not so much as a young man reclaiming what is rightfully his, but rather that of a DirtyCoward [[KickThemWhileTheyreDown kicking his opponent when he's at his weakest]]. So much so that the whole affair leaves a sour taste in one's mouth.]]

* EndOfAnAge: The film is very much about the opulence and high society of the 18th century and the bubble of privilege they lived in; the film ends in 1789, the beginning of the French Revolution, and cannot continue from there as the bubble of decadence that the aristocracy enjoyed in this period would soon shrink if not pop as from then on men will be judged more on their merit rather than birth or title.

* GoldDigger: Every single scene but [[spoiler: the final duel]] establishes Barry Lyndon as one.
* GoneSwimmingClothesStolen: From two gay men nude bathing in a pond.

* ProtagonistTitle

** Nora is arguably this, of the "Bitch" variety. Despite Barry's genuine affection for her, she mostly deflects his advances on the grounds that he is "only a boy." She leads him on, yet makes it clear that she is set to marry Captain Quinn. After Barry is driven to exile, she marries Quinn anyway.

* YouCantGoHomeAgain

* WidowWoman: Barry's mother refuses every marriage proposal.

* AffablyEvil: Captain Feeny, who's awfully well-mannered for a thief.

* HonorBeforeReason: Barry magnanimously delopes when Bullingdon misfires. It does not end well.

* TheHighwayman: Captain Feeny and his son, Seamus.

* JoinOrDie: Captain Potzdorf puts Barry in front of a choice: getting killed as a deserter or join the Prussian army. [[spoiler: He joins them.]]

* OhCrap
** When Barry realises that Captain Potzdorf has been leading him on and [[http://www.youtube.com/watch?v=u7sNTTjgqag exposed him as a deserter]].
** When Lord Bullingdon's pistol misfires. He retches, cries, and generally subverts the idea of the cool-headed righteous avenger, showing himself to be little more than a (justifiably) angry young boy vastly out of his depth.
* OohMeAccentsSlipping: Ryan O'Neal, full stop. Given Kubrick's reputation as a notorious perfectionist, it gives one pause to wonder why he didn't hire someone who could convincingly emulate an Irish accent (or, you know, hire someone who naturally speaks the dialect) for the title role of the movie.
** Apparently this was because Kubrick was contractually obligated by Warner Bros to cast an actor who was currently one of the top 10 highest box office earners, or else they wouldn't fund his film. Most of the 10 were ruled out, because they were too old or unsuitable or female, leaving only two - Robert Redford and Ryan O'Neal. He couldn't get Robert Redford.
** Another reason is that O'Neal wasn't talented enough to convey a wide range of emotions, and Kubrick used this to show just how soulless Barry Lyndon is.
** This is pretty debatable, as O'Neal's performance is sometimes intensely emotional. Makes you wonder how many of Barry's actions are sincere or just acting.

* GreyAndGrayMorality: Barry versus the world. Barry does what he has to in order to survive, even sinking to very low methods when he has to and never against someone who could be considered evil. [[spoiler: In the second act, this turns into a GreyAndBlackMorality with the opportunistic Barry working against his step-son, a young man who's life he is effectively ruining but is not much better in terms of good character. It could even retain its [[GreyAndGreyMorality grey on grey status]] or even be an EvilVersusEvil [[AlternateCharacterInterpretation depending on how one views]] both men.]]

* GreyAndGreyMorality: Barry versus the world. Barry does what he has to in order to survive, even sinking to very low methods when he has to and never against someone who could be considered evil. [[spoiler: In the second act, this turns into a GreyAndBlackMorality with the opportunistic Barry working against his step-son, a young man who's life he is effectively ruining but is not much better in terms of good character. It could even retain its [[GreyAndGreyMorality grey on grey status]] or even be an EvilVersusEvil [[AlternateCharacterInterpretation depending on how one views]] both men.]]

* DownerEnding: Barry ends up losing everything: his son is dead, he is separated from his wife, his fortune has been reduced to a meagre monthly allowance from Lady Lyndon, and if he ever sets foot in England again, Lord Bullingdon will see him thrown in debtor's prison.

* HeroAntagonist: [[spoiler: Downplayed significantly with Lord Bullingdon. From a moral standpoint, one could easily argue that he a lighter shade of grew when compared to Barry. At the same time, however, he comes off as a bigoted, cowardly, and narcissistic young man whose hatred of Barry derives as much from the latter's humble origins as much as him being a poor step-father. When the time comes for the final duel, Bullingdon defeats Barry in such a bad form that it comes off not so much as a young man reclaiming what is rightfully his, but rather that of a DirtyCoward [[KickThemWhileTheyreDown kicking his opponent when he's at his weakest]]. So much so that the whole affair leaves a sour taste in one's mouth.]]

* DrivenToSuicide: Lady Lyndon [[spoiler: after Bryan's death.]]

* NeverBeHurtAgain: The death of [[spoiler: Grogan]] is the last time Barry ever loves anyone [[spoiler: save his song, and ''he'' dies, too.]]

* AffablyEvil: Captain Feeny.

* SpoiledSweet: Barry, for all his many faults, loves his son dearly, and does on the boy. His son, in turn, is a happy CheerfulChild who stands outside Barry's intrigues with the rest of the family. [[spoiler: But, ultimately, he literally spoils the kid to death, buying him a horse before he's old enough to avoid an accident.]]

Set over the second half of the 18th century, the film concerns the life of Irish peasant-turned-adventurer-turned-aristocrat Redmond Barry (Ryan O'Neal), who leaves his Irish home after his family con him into leaving alone his cousin with whom he is besotted. The film's first half shows how he then goes on to be a British deserter of the SevenYearsWar, a Prussian conscript, a spy and then a travelling dandy. The second half, however, is far more downbeat and involves his quest to become an aristocrat, which eventually merely leads to tragedy as he spurns his beautiful but fragile wife and brings his stepson to hate him with a passion.

The film had very mixed reviews when it came out, and was seen as weird for Kubrick as he wasn't fond of period pieces. Nowadays, however, ''Barry Lyndon'' is regarded as a cinematographer's dream with its beautiful camera work (including scenes lit only by candles), and no other film has so convincingly brought the 18th century to life. It's a simple story, but if you allow yourself to be absorbed by it and accept the pace it's deeply engaging, romantic and even thought provoking. There are some truly classic scenes, such as the climactic duel between Barry and his stepson which has tremendous tension, and the first meeting and seduction of Lady Lyndon by Barry, which involves a room of gamblers, a balcony, and the slow movement of Music/FranzSchubert's Piano Trio in E-flat major, which is just pure romance on film.

The film had very mixed reviews when it came out, and was seen as weird for Kubrick as he wasn't fond of period pieces. Nowadays, however, the film is considered a cinematographer's dream with its beautiful camera work (including scenes lit only by candles), and no other film has so convincingly brought the 18th century to life. It's a simple story, but if you allow yourself to be absorbed by it and accept the pace it's deeply engaging, romantic and even thought provoking. There are some truly classic scenes, such as the climactic duel between Barry and his stepson which has tremendous tension, and the first meeting and seduction of Lady Lyndon by Barry, which involves a room of gamblers, a balcony, and the slow movement of Music/FranzSchubert's Piano Trio in E-flat major, which is just pure romance on film.

Set over the second half of the 18th century, the film concerns the life of Irish peasant-turned-adventurer-turned-aristocrat Redmond Barry (Ryan O'Neal), who leaves his Irish home after his family con him into leaving alone his cousin with whom he is besotted. The film's first half shows how he then goes on to be a British deserter of the Seven Years' War, a Prussian conscript, a spy and then a travelling dandy. The second half, however, is far more downbeat and involves his quest to become an aristocrat, which eventually merely leads to tragedy as he spurns his beautiful but fragile wife and brings his stepson to hate him with a passion.

* SophisticatedAsHell: '''The entire film'''. The film is mannered in the extreme, but much of the humor comes from the Very Proper Narration.

Set in the late 18th century, the film concerns the life of Irish peasant-turned-adventurer-turned-aristocrat Redmond Barry (Ryan O'Neal), who leaves his Irish home after his family con him into leaving alone his cousin with whom he is besotted. The first half shows how he then goes on to be a British deserter of the Seven Years' War, a Prussian conscript, a spy and then a travelling dandy. The second half, however, is far more downbeat and involves his quest to become an aristocrat, which eventually merely leads to tragedy as he spurns his beautiful but fragile wife and brings his stepson to hate him with a passion.

''Barry Lyndon'' is Creator/StanleyKubrick's 1975 period piece, widely considered one of his most underrated films. The film concerns the life of Irish peasant-turned-adventurer-turned-aristocrat Redmond Barry, who leaves his Irish home after his family con him into leaving alone his cousin with whom he is besotted. The first half shows how he then goes on to be a British deserter of the Seven Year's War, a Prussian conscript, a spy and then a travelling dandy. The second half, however, is far more downbeat and involves his quest to become an aristocrat, which eventually merely leads to tragedy as he spurns his beautiful but fragile wife and brings his stepson to hate him with a passion.

The film is based on the novel ''The Luck of Barry Lyndon'' by William Makepeace Thackeray, the author of ''Literature/VanityFair''.

* WidowWoman: Barry's mother refuse every marriage proposal.

** AlternativeCharacterInterpretation : There are several possible reasons for Barry not firing at Lord Bullingdon. Honor, disgust...

** TruthInTelevision: Englishmen [[note]] And the fact that Barry is Irish, not English, is very relevant here[[/note]] of that era took the "stiff upper lip" to a ridiculous degree. [[http://ebooks.adelaide.edu.au/c/chesterfield/letters/index.html Lord Chesterfield]], in his famous letters of advice to his son, even objects to ''laughter'' as a vulgar excess.

* UsefulNotes/SevenYearsWar: As a backdrop during Barry's rise to fame and wealth.