The BFI’s release of a 4K restoration print of Barry Lyndon is now doing the rounds of UK specialised screens. After my recent viewing of the new Blu-ray of Novecento/1900, I wondered how Stanley Kubrick would measure up to Bertolucci with a similarly long and meticulously created historical drama. I didn’t see Barry Lyndon on its 1975-6 UK release but I vaguely remember its poor reception by critics and its lack of commercial success (i.e. compared to Clockwork Orange in 1971-2). Since that first release Barry Lyndon‘s stock has risen considerably and now it is taken by some critics to be Kubrick’s masterpiece. Intrigued by this change of heart I went back to the extended review article by Penelope Houston in Sight and Sound Spring 1976. She sets out what reads now as a calm and measured view on the film and one which seems spot on to me. Sight and Sound gave the film a 3 star (out of 4) rating. I also checked Monthly Film Bulletin in which Richard Combs also gives a positive/constructive review so the critical reception was not all negative. Houston does quote some of the negative comments by UK and US press reviewers and says that she herself was puzzled by the film, but then uses the space available to her (as editor of Sight and Sound) to produce a more measured response.
Background to the production
Barry Lyndon is argued to be the eventual outcome of Kubrick’s frustrated attempt to make a film set during the Napoleonic Wars. After a lukewarm response from Warner Bros. he turned instead to an early work by Thackeray, first published as a serial in 1844 and later re-issued as a novel. Set in the second half of the 18th century, the story (based on a real biography) involves a young Irish ‘gentleman’ named Redmond Barry with limited prospects who seeks to better himself and who, after adventures in Prussia and across Europe, marries a wealthy widow, Lady Lyndon, with land and a small son (who inherits his father’s title). Barry becomes ‘Barry Lyndon’ but ultimately fails to establish himself as a member of the aristocracy and is effectively defeated by his own stepson. The story is in some ways a precursor to the much more well-known Vanity Fair (1847) with Becky Sharp as its protagonist. Kubrick appears to have altered significant aspects of the narrative of Barry Lyndon, including changing the narrator from Barry himself to an unseen ‘omniscient’ narrator voiced by Michael Hordern. The suggestion is that Kubrick loses something of Thackeray’s comedy and changes the nature of his satire. For some audiences this means it is more difficult to understand what it is that Kubrick wants to say about 18th century British life or about the aristocracy of Europe. The two charges against the film are therefore that it is ‘cold’, ‘distant’ and ‘static’ and that Kubrick’s intention is difficult to define.
The outcome of the film’s Oscar nominations seems to have been influenced by these charges so that its four Oscar wins were all ‘technical’ – Best Cinematography, Art Direction, Costume Design and Music Scoring. Kubrick himself was nominated in three categories – Best Picture, Direction and Adapted Screenplay – but didn’t win for any of these. I’m not sure about the music (an acknowledged strength of Kubrick’s production) – it is certainly noticeable and there are some excellent choices but sometimes it seems heavy-handed. The other three awards are richly deserved. Cinematographer John Alcott worked with Kubrick to produce interiors lit only with candles and the long shots of landscapes and several interiors evoke the fine art painting of the 18th century masters. It’s hard to deny that the film is wondrous to behold on screen. But what does it all mean?
Kubrick followed the (eminently sensible) roadshow convention of inserting an intermission so there is a part 1 of 102 mins and a Part 2 of 82 minutes. Part 1 is the picaresque adventure and Part 2 is the failed attempt to become an aristo. Richard Combs argues that by removing Barry’s ironic narration and presenting the action in such a distanced way Kubrick creates a character who is first passive and then compliant as an agent in the cold, harsh world of 18th century Europe. He sees a connection to Kubrick’s own Paths of Glory and he argues that Ryan O’Neal as Barry is “not perverse casting against type, but essential to the way Kubrick has revised the character of Thackeray’s swashbuckling braggart”. Combs goes on to carefully sketch out how this works. He may well be right but I’m afraid I’m still stuck with O’Neal as miscasting.
Ryan O’Neal was undoubtedly a star in the early 1970s with lead roles in Love Story, What’s Up Doc? and Paper Moon – films which did very well at the box office, pleased many critics and won awards. In most of these roles O’Neal is the romantic/passive/idealist figure. I certainly see these elements of his star persona in Barry Lyndon but the role also demands cunning/deceit and a form of courage which is less in evidence for me. I’m not suggesting that this is ‘bad acting’ but rather that O’Neal brings ‘star baggage’ that works against the other performances, mostly by British character actors. Leonard Rossiter offers one of his gurning comic turns but generally the rest of the cast fits Combs’ overall description of the world Kubrick creates. I wondered how Barry might have come across played by Malcolm McDowell. I was thinking not only of Clockwork Orange but also of Lindsay Anderson’s O Lucky Man! (1973). Penelope Houston points out that McDowell also appeared as an early 19th century scoundrel/cad in Royal Flash (1975) and argues that he might have portrayed Thackarey’s original Barry – but not Kubrick’s revised version. I think the point here is simply to recognise that in ‘reading’ Kubrick’s film it is too constricting to take it as either an auteurist project or a literary adaptation. The approach to cinematography, set design and costumes places the film in relation to a long history of attempts to represent British landscapes and rural life in the 18th and 19th centuries. I was reminded of Chris Menges’ work on Ken Loach’s Black Jack (1979) (set in Yorkshire in the 1750s) and in my post on that film I discuss many of the other titles to which Kubrick’s film alludes, if only tangentially, via its concern with landscape and forms of realism.
I’m pleased to have seen Barry Lyndon. I think that what I most enjoyed was the array of British character actors as well as the sheer beauty of the film. I did feel distanced from the narrative but I think with a second viewing I would fully appreciate the Houston/Combs readings and understand Kubrick’s project. But I don’t think I would be moved by it. I’d like now to go back to Mira Nair’s Vanity Fair (2004), a film I did enjoy at the time despite its generally poor critical reception and indifferent box office. Both Nair and Kubrick represent attempts to use Hollywood money to make ‘international films’ based on British literary texts by the same author. Their very different approaches are worth exploring.
Barry Lyndon new 2016 trailer:
Last week, more or less by accident, I attended back-to-back screenings of India’s top box office film, Kabali (India 2016) and Hollywood’s latest revamp of the Bourne franchise, simply titled Jason Bourne (US 2016). I’d wanted to see Kabali but Jason Bourne was an ‘impulse watch’, mainly on the grounds that Alicia Vikander and Vincent Cassel are two of my favourite stars. I’d seen two of the previous Bourne films and three recent Rajnikanth spectaculars. The result of this current contest between the action champions of the US and India was, for this viewer, an away win for Superstar Rajni.
Let me deal with Jason Bourne first. The return of Matt Damon and Paul Greengrass, this time with his regular cinematographer Barry Ackroyd (who first came to international attention as Ken Loach’s cinematographer), gave hope to fans of an action film par excellence. Vikander’s casting and that of Cassel matched earlier European casting choices. They were joined by Riz Ahmed in a Steve Jobs type role and the whole package had a very European flavour for a Hollywood blockbuster. Unfortunately, the script was left to Greengrass and his editor Christopher Rouse and they proved to not be up to the job. In truth, Jason Bourne is four separate action sequences somewhat loosely tied together by the familiar plotline of Damon’s character Bourne trying to find out what his own father did that started this whole chase scenario in which he is pursued by corrupt CIA officials. The novelty is that this time he might expedite a further release of Edward Snowden type secret materials – and in doing so create further problems for the CIA in its link to the surveillance potential of the Riz Ahmed’s character’s new software developments.
In the first major action sequence, Bourne is on the streets of Athens during anti-austerity riots. He’s meeting his ex-CIA ‘insider’ partner played by Julia Stiles. Bourne is in ‘drab’ but she has long flowing blonde hair – easily visible to the satellite cameras of the CIA back in Washington where Tommy Lee Jones and Alicia Vikander can track the couple’s every move and release ‘The Asset’ – the assassin played by Vincent Cassel. We never learn what the Greek riot was about (are audiences expected to know the details of Greece’s economic and political problems?), but various Greek bystanders are killed in the mayhem and the action moves to Berlin where Bourne and his local contact make similarly stupid mistakes. After that it is London and then finally Las Vegas. In each case, the main confrontation is between Cassel and Damon with the CIA mission being compromised by Vikander’s realisation that something may be amiss in what they are doing – or perhaps she has her own ulterior motives?
The action is indeed spectacular but by the fourth sequence it starts to get boring, though I perked up and genuinely laughed when a Police SWAT vehicle crashes into a Las Vegas temple to the fruit machine. In technical terms, the film is very efficiently made, but the script is full of holes. Bourne has no personality and I wanted the Cassel character, who unfortunately has no redeeming features, to end up with Vikander. Perhaps the oddest aspect of Jason Bourne is the BBFC entry on the film which shows a 12A Certificate and suggests that there is ‘moderate violence’. So, children can’t be harmed by multiple deaths by sniper bullets or beatings in which people are repeatedly hit to a sickening soundtrack. But there are no sexual encounters or drugs so children won’t be affected. The hypocrisy is staggering.
Kabali is, by comparison a lot less slick and at times quite slowly-paced, but it wins because of warmth and wit, because it is actually ‘about’ something and because it has Rajnikanth, genuinely a superstar, mainly in South India, but also in parts of the world with a Tamil diaspora and other surprising places such as Japan. Rajnikanth is now billed as ‘Superstar’ in his film’s credits. Now 66 he has appeared in some 200 films since 1975. His superstar status depends on his affinity with the ‘common man’ in the crowd (I’m not sure about his appeal to the ‘common woman’). Whatever trouble he is in, Rajni’s character will emerge and live to fight another day, mainly because of his lightning reflexes. Kabali reminded me of one of Rajni’s earlier successes as a gang leader in Mani Ratnam’s Thalapathi (India 1991). In the new film we meet Rajni as a man who has served 25 years in a Malaysian prison for a crime he feels he was not responsible for – and which was associated with the death of his pregnant wife. He is met at the prison gates by followers who have been waiting patiently for him – and building a school in his honour to train young Tamils in Malaysia who have ‘failed’ or lacked opportunities. But Rajni (Kabali) is a gang leader, albeit one with principles and political ambitions. Flashbacks reveal how he began as the leader of Tamil workers on rubber plantations in Malaysia, striking for better conditions. His enemies are other Tamil gangsters who resent his leadership and reject his political aims and Chinese gangsters led by Peter Lee (Taiwanese actor Winston Chao).
In some ways Kabali is a melodrama. Kabali is ruthless when he first emerges from prison, immediately taking down some of his Tamil enemies. But he is soon distracted by memories of his wife and begins to follow up clues to what really happened 25 years ago. Flashbacks take us into a family melodrama in which we learn of miraculous recoveries. Kabali still has a wife, but he will need to travel to the ex-French colony of Pondicherry to find her. He also has a daughter who emerges in true melodrama fashion – and he has surrogate sons from the school founded in his honour. But all this family business means that Kabali’s enemies have time to organise and the film’s finale will prove whether Kabali can still be a boss in Kuala Lumpur – which offers a cityscape of tall buildings to match any American setting. As one Hindi/Bollywood critic writes, this is indeed a ‘Southern pot-boiler’ but the emotion got to me. Rajni himself remains eminently watchable. He is now playing close to his age and the wig works very well – he looks cool and stylish as a don in his sixties. He dominates the frame and speaks commandingly and he can still use a gun and make his moves.
The release of Kabali in India has been a media event in itself – even outside the South. Kabali‘s producers claimed the biggest ever opening box office for an Indian film. Box office figures in India are always dubious and especially so in Tamil Nadu. Nevertheless the film has attracted huge crowds in the South and has been dubbed into Hindi, Telugu and Malay (where several scenes have been censored) and probably other languages too. In North America, the UK and Australia we are able to see the Tamil original with English subs. One of the most interesting Hindi/Bollywood reviews of the film suggests that Hindi dubbing is very poor for Kabali and that it loses not only Rajni’s great delivery, but also the political subtext of Tamil identity in colonial and post-colonial Malayan history. (Malaysia and Singapore with their significant Tamil diaspora communities are key audiences for Rajni films.) Another article commenting on Rajni’s status as superstar claims that no film script can contain him any more and that the his films will always fail for fans who have enormous expectations. (Rajni fans treat the star like a deity, making offerings to giant cardboard cut-outs of their hero and watching the films multiple times. His fans outside Tamil Nadu will fly in and purchase tickets at inflated prices to see their hero.)
Kabali is directed by Pa. Rajnith, one of the younger feted directors of Tamil cinema. Having not seen his first two films, I’m not sure how Kabali stands up to them. He seems to do an OK job and it’s good that Superstar Rajni can work with the new generation. But surely he can’t go on playing the same kinds of roles much longer? He can certainly act and it would be good to see him take on something new – perhaps something with less action and more politics. But I doubt his enormous fanbase would agree. One thing you can say about Rajni and Kabali is that apart from the Godfather references that helped to build Superstar Rajni’s persona, Hollywood has so far not produced anything to compete with him directly.
This is one of the most powerful and popular of C19th English novels. The author, Charlotte Brontë, published two other novels but it is this work which has made her famous. I read it in my teens, twelve times as I remember. I was immediately taken with the manner in which Jane challenged authority, especially male authority. And besides this there was the potent Gothic aspect which suffused much of the novel. This is not a novel that can be transferred in all its complexity and power to the screen: but the melodramatic plot does work well on film.
This Hollywood version, directed by Robert Stevenson, was the third, though the 1910 film was only a reel in length. Kate Ellis and Ann Kaplan commented on both this film and the 1970 TV film version directed by Delbert Mann:
“[this] is a story of a woman who understands instinctively the inequities of patriarchal structures but who cannot, finally, move entirely beyond them. … Jane’s strength comes to the reader through the clear, strong voice of the first person narrative . . . Neither film version (1944, 1970) is ultimately able to retain the centrality of Jane’s point of view. (The English Novel and the Movies, 1981).
There have been more film and television versions since then. We now have had Charlotte Gainsborough working with Franco Zefferelli, Samantha Morton working with Robert Young and Mia Wasikowska with Cari Joji Fukunaga. Gainsborough and Morton make a better fist of the strong woman to my mind: whilst Fukunaga’s 2011 version gets stuck in odd variations from the plot.
One of the limitations of this 1943 version is the casting. Jane is played by Joan Fontaine, who was the wife in a film version of that lesser masterwork inspired by Jane Eyre, Daphne Du Maurier’s ‘Rebecca’ (1940). Fontaine’s performance is closer to the somewhat submissive heroine of Du Maurier than to Brontë’s Jane. This point is accentuated by the casting of Orson Welles as Rochester. Referring to the finale of the novel and film Ellis and Kaplan ask,
“(could Welles ever appear chastened?) . . . “
Moreover, when could he resist directing as well, and the film bears many of his hallmarks.
However, in the rather different presentation from the novel both stars are very good. And they are supported by some excellent actors, including Agnes Moorehead and Henry Daniel and the young Peggy Ann Garner, Elizabeth Taylor and Margaret O’Brien.
The script of the film was (surprisingly) by Aldous Huxley with contributions from the director and John Houseman. The screenplay was in part an adaptation of a broadcast version by The Mercury Theatre on the Air. The film does provide a voice-over to present Jane’s point of view, but not all key parts of the film enjoy this. Moreover, two key characters are missing from the film version, Miss Temple from the Lowood school and St. John Rivers from Jane’s odyssey away from Thornfield. Both, in different ways, are important in the characterisation of our heroine.
Stylistically the film broadly follows the conventions of Hollywood studios, thus reinforcing the position of the men in the film. However, it does capture the Gothic atmosphere, especially at Thornfield. There is some excellent use of high and low key lighting by the cinematographer George Barnes. And an equally Gothic feel is imparted by the score from Bernard Herrmann.
This is a classic Hollywood adaptation of a great novel. The characters and plot are recognisable but I rather think Charlotte Bronte would have wanted quite a few rewrites if she had been involved. It does though score with the acting and the production. There are pleasures in the narration, style and performances, notably that of Welles. Happily when the Picturehouse at the National Media Museum screen the film this Saturday they will be relying on a 35mm print, which is apparently in excellent condition . This will certainly do full justice to the visual pleasures of the film.
The screening is preceded by a panel discussion chaired by Samira Ahmed. The panel plan to comment on the book, the film adaptations and the works’ popularity. It will be interesting to hear what they may say about the Brontë and the Stevenson versions. Lovers of either will also get a chance to pose questions about this.
Battle Hymn is the film that probably puzzles Sirk fans more than any other. It’s a biopic of an unusual American military hero who was also a minister for an Ohio church. Though the film’s script doesn’t follow the story of Colonel Dean Hess with absolute fidelity, Hess was constantly on set and was able to veto the casting of Robert Mitchum (thought unsuitable because of his reputation – for smoking dope?) in this part-biopic. This presence reportedly drove Sirk to distraction because it prevented him going further in departing from the script.
Hess joined the USAAF after Pearl Harbour and, in a ground attack role in Germany, accidentally bombed an orphanage killing 37 children. The film suggests that the terrible memory of this incident caused Hess to return to active service in 1950 in order to train pilots for the Republic of Korea (i.e. the South Korean) airforce. The training took place close to the front line and Hess then became involved in rescuing several hundred Korean orphans/refugees caught up in the fighting. Later Hess used the proceeds from his successful autobiographical book and its film adaptation (both were released in 1957) to build a new orphanage in South Korea.
Battle Hymn is a Technicolor/CinemaScope epic starring Rock Hudson in the lead role as Hess. Drenched in a soupy score to enhance the religiosity of many scenes, Battle Hymn is as resolutely conventional as its plotline implies. It even begins with a propagandist throwback – an introduction to the film by the Air Force General commanding during the Korean War. Sirk had nothing to do with this and claimed that he had never seen it. But why did he agree to direct the film?
Sirk’s testimony in Jon Halliday’s interviews with him is quite revealing about his complex relationship with Hollywood. First he says that he liked working with children and that he was attracted to the idea of working with the Korean children (which he concedes might be because of their ‘foreigness’. Linked to this is his interest in Korean and Japanese culture. It is this which initially gets him interested in the story when he meets a Korean military attaché and then the notorious Korean President Syngman Rhee, whose wife turned out to be Austrian (and who enjoyed speaking German with the director). Although the film appears to have been shot in Arizona, Sirk did get out to Korea and Japan and Hess himself flew Sirk over North Korea at one point. This combination of children/Korean culture/German culture and flying was very attractive to Sirk. Unfortunately, the film also came with ‘front office’ interest, a sizeable budget and Rock Hudson (by now a major star). Sirk could see in the script the possibility of exploring yet again a complex character – a man with religious beliefs who could invest his energy in the seemingly opposite pursuits of killing the enemy and saving the children. Sirk wanted to emphasise this by finding a visual/dramatic expression of this split personality. He toyed with the idea of making Hess a drinker but the real Hess fought against this and his presence on set was enough to force Sirk to abandon the idea. Sirk also suggests that Rock Hudson should not have played the role. Instead it should have gone to an actor like Robert Stack who could represent this ‘duality’ more convincingly. It seems a little pat to suggest that only a few months after completing Written on the Wind and not long before The Tarnished Angels, Sirk would contemplate repeating the Hudson-Stack pairing in some way, but that might be the case. There are also two moments/two aspects of the script which intriguingly look forward to future Sirk projects – and two of his best films.
‘Hess’ is a German name and the character explains to his church deacon that his bombing of the orphanage in Germany was even more painful because of his grandmother’s memories of the area. This is yet another twist to the back story of this complex character (who is known to his old buddies from 1944-5 as ‘Killer Hess’). A year after making Battle Hymn, Sirk would go to Germany to make a film based on Erich Maria Remarque’s novel A Time to Live and a Time to Die (the title being slightly changed). In 1959, Sirk’s last Hollywood film was Imitation of Life and Sirk had long had a fascination with what he called the ‘race question’. In Battle Hymn he cast (I’m assuming he had some say in the matter) James Edwards, one of the pioneering Black actors in Hollywood in the 1950s, as Lt. Maples, one of the American pilots selected to help train the Koreans. This was a major coup for Hollywood (though it didn’t signal a breakthrough in better roles for Black actors). As recent films like Red Tails (2012) have depicted, the American Air Forces were segregated in the Second World War. Segregation in US Armed Forces didn’t end until an order from Harry Truman was issued in 1948, so the action in Korea in 1950 was barely into the new era. Battle Hymn emphasises Edwards’ role as Lt. Maples with two incidents. First, he is ordered to attack a target that later turns out to be a truck full of children – finding himself responsible for children’s deaths just as Hess had done in Germany. Later, when he has volunteered to help to look after the children on the base, he sings what was then known as a ‘negro spiritual’ song to them, ‘Swing Low, Sweet Chariot’. To Sirk’s credit, the film at least includes the Maples character in the central narrative.
The other notable aspect of Battle Hymn is its focus on the rescue of the children. This chimes with a cycle of similar post-war films in several countries, including The Inn of the Sixth Happiness (UK 1958) in which Ingrid Bergman played a British woman missionary escorting 100 children to safety in China during the Japanese invasion in the 1930s. The rescue mixes with the biopic narrative to create a Hollywood storyline but the popularity of the film (to the relief of Universal no doubt) also depended on the aerial sequences which are well handled by Sirk and his crew.