Book review: Maria Pramaggiore, Making Time in Stanley Kubrick’s Barry Lyndon: Art, History, and Empire (New York: Bloomsbury Press, 2015), £16.99, 216pp.
Stanley Kubrick’s Barry Lyndon (1975) was a modern adaptation of William Makepeace Thackeray’s Victorian novel about the rise and fall of an 18th century scoundrel. To put it another way, it was an adaptation by an American film-maker of an English novel set in Ireland. The significance of these temporal and national disjunctions are at the heart of the argument behind this stimulating new book on what has long seemed to me Kubrick’s greatest movie. In America, it was the most commercially unsuccessful film of his career and was memorably lampooned by MAD magazine under the title of Borey Lyndon. In the final chapter, assessing the place of the film in the context of 1970s cinema, Maria Pramaggiore suggests that its failure with American audiences was to do with its ‘non-Americanness and its non-manliness’.1 This book sets itself the task of examining the highly original way ‘emotion and thought find a place in the rhythms of the film’.2