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Been getting into rewatching Roger Moore Bonds lately, and completely forgot about the out of nowhere insanely high-class death scene in Moonraker where Michael Lonsdale sets hounds on Corinne Cléry (the lady from The Story of O) cued to sumptuous as fuck John Barry orchestration

338,720 görüntüleme • 1 ay önce •via X (Twitter)

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Barry marrying Lady Lyndon should be his triumph. He's climbed from Irish outsider to the middle of the aristocracy, and the marriage hands him the wealth, the title, the land, and the standing he's chased for most of the film. Then Kubrick declines to shoot it as romance. He shoots it as a painting of a transaction. The guests barely move. The composition is flat and formal, everyone arranged on the canvas rather than living inside the moment, and the slow zoom-out pulls the wedding back into something more like a historical portrait — symmetrical, distant, frozen. Barry is getting everything he ever wanted, and the image is already dead. No warmth in the room, no sense of destiny. Lady Lyndon looks less like a bride entering a love story than a figure being quietly filed into an arrangement. He's won his seat at the table, and the win is hollow before the marriage has started. Which is where the look of the film does its real work. Barry Lyndon was built to pass for the eighteenth century preserved in oil. Kubrick and John Alcott shot by natural light where they could, and for the candlelit interiors Kubrick used ultra-fast Zeiss f/0.7 lenses that had been made for NASA — glass fast enough to expose a scene by three candles. The point wasn't only beauty. It was to make everyone look trapped inside history. The wedding is the clearest case. On the surface it's a masterpiece of faces, light and ritual. Underneath it's ice. Barry has finally entered the world he wanted, and Kubrick frames that world as rigid and airless. He doesn't look like a man beginning a marriage. He looks like a man stepping into a portrait that's about to become his cell.

Best of Kubrick

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