...for all the glorious ephemera of a gilded age.
Sadly ignored during our Bicentennial Year, which, no doubt, Stan was counting on to help spur interest in his magnificently poetic period piece:
During some of the 10 times I viewed BL between January and April 1976 I was practically alone in the theater - not a bad experience, actually.
Anyway, those of us who got it then finally now have the transfer that we have been deserving for decades.
Clean, subtle colors and gentle contrast; smooth grain (for a pushed 200 ISO) easeled in the full aspect ratio
that lovingly presents all this historical fantasia's splendid slow dreamy softness.
And the sound is exceptionally improved. Criterion got that part right.
But, if you are already a convert, and have seen BL many times already, then, like me, you need to know:
WHAT ABOUT THE (way overdue) SPECIAL FEATURES?!
Here, as usual, Criterion is rather lackluster.
Good stuff:
Included booklet with a first rate essay by Geoffrey O'Brien, worthy to be included on The Kubrick Site.
Two 1976 articles from American Cinematographer; readily available online, but nice to have in hand again.
Also, the only time that DP John Alcott is adequately given his due - barely mentioned in the videos!
A quite decent Making Of documentary.
Excellent piece with editor Tony Lawson, though it should have been longer.
"I have not received satisfaction.":
No interview with O'Neal or Berenson. What anecdotes and insights they could have provided!
Michael Hordern and his incomparable narration is unjustly minimized. How interesting it would have been to learn more about how those wonderful voice overs were arrived at; Hordern deserves to be considered one of the stars of the film.
Disappointing cinematography piece. Should have come with subtitles considering how unintelligible some of the crew are. Simply underwhelming in its lack of technical detail, considering how uniquely important all these aspects were to such a ground breaking work of cinematic art.
Michel Ciment ramblingly condescends to explain to us what he thinks that even Kubrick himself probably did not understand about his own creation. Typical Criterion propeller-head.
Art curator Adam Eaker likewise clues us in, while managing to confuse a Gainsborough for a Reynolds. Okay, for what it's worth.
Hardly anything interesting about the costuming.
No doubt I have been spoiled by the gold standard of special features that Peter Jackson and some others provide.
But I simply cannot leave without noting that this has been a decidedly UN-Kubrickian aspect, and fault, of practically every single video transfer of Stan's work. Who in the Kubrick Estate is to blame for this shameful lack?
In any event, this is the best we will get, until someone someday puts together a truly comprehensive Making of Barry Lyndon documentary (feature length). Then might I obtain satisfaction.