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Barry Lyndon previously unscreened 35mm internegative print May 27 – 29: 3:00 pm & 7:00 pm When Barry Lyndon opened in New York in 1975, a Time magazine cover story called it, “Kubrick’s Grandest Gamble.” Not such an original idea: virtually every film Kubrick made was risk-laden, from 2001: A Space Odyssey to Eyes Wide Shut. Kubrick himself was not on Time’s cover; Marisa Berenson, a relative unknown with a cultural and haute couture pedigree, appeared in character as Lady Lyndon. Elle magazine labeled her “the most beautiful girl in the world.” Hyperbole? Perhaps. But she conveyed both the sadness and the chic necessary to play the luckless Lady Lyndon––and she looked sensational in Milena Canonero’s authentically Hogarthian costumes. This is the first time Barry Lyndon is being screened at the Walter Reade Theater and we are fortunate to be presenting a restored, previously unscreened 35mm internegative print. This print has been timed and color-corrected under the supervision of Leon Vitali, Kubrick’s right-hand man for many years and the actor who plays Lord Bullingdon in the film. We are pleased that Mr. Vitali will introduce several of our screenings of Barry Lyndon, to discuss the technical aspects of the production and his own role in the film. Leon Vitali first worked for Kubrick as an actor in Barry Lyndon. Then he became a production aide, from 1977 to 2003, supervising the making of prints and DVD’s, including the restored internegative transfer of the Barry Lyndon 35mm print we are screening at the Walter Reade. Vitali is in partnership with Todd Field (Standard Film Company) and served as Associate Producer on Little Children which was shown in the 2006 New York Film Festival). A grateful thank you to Leon Vitali, Ned Price and Marilee Womack at Warner Bros. Barry Lyndon Stanley Kubrick, UK, 1975; 183m The first half of the film is like a documentary of 18th-century manners, pairing the external world that Lyndon is so anxious to conquer with interior shots that are truly revelatory; ever the innovator, Kubrick fit an 50mm still camera lens onto a motion picture camera, permitting him to film even in the low light of England’s 18th-century domains. The resulting mood is crucial to the melodrama that envelops the film’s second half, as Lyndon’s physical gallantry turns into the growing confusion of an over reaching bloke who, in Kubrick’s words, “gets in over his head in situations he can’t understand.”