Next is On the Costumes.

It’s a segment from a September 1976 broadcast of Les rendezvous-vous du dimanche.
In it we hear Ulla-Britt Soderlund, Oscar winner for costumes on Barry Lyndon.
Milena Canonero was the lead costume designer, and she worked under Milena.

Ulla-Britt was costume designer for Jan Troell and worked in theatre in Copenhagen before film.
We learn (again) that working with Kubrick is intense, that he expects you to work hard because HE works hard.
We learn that the lace is authentic in Barry Lyndon- antique lace bought at Sotheby’s in London.
The fine fabrics for the costumes were from Denmark, and they needed special treatment to get the “painting look”...
Ryan O’Neal has 38 different costumes! Marisa Berenson has 20!
The military uniforms were copies of the originals.


Next is Passion and Reason, a new interview with famous critic Michel Ciment.

Ciment has some really illuminating points about Stanley Kubrick.
I won’t spoil them by repeating them, but I’ll give you one:
Barry Lyndon is parallel to A Clockwork Orange.
Both are in two parts and both protagonists have a rise and fall.


Finally we have A Cinematic Canvas.

The assistant curator of the Metropolitan Museum of Art (Adam Eaker) talks about the fine art that inspired the visuals of Barry Lyndon.

William Hogarth, Thomas Gainsborough and Sir Joshua Reynolds are singled as dominant 18th century artists. Hogarth may very well be the “most cinematic” of the three. Kubrick clearly used him as inspiration for Barry Lyndon.
I learned of a super-cool “Meta-Pictorial” painter that Kubrick was inspired by: Johan Zoffany.
This feature will appeal to both art majors and film historians.

I hope I haven’t spoiled the DVD for anyone.
I wholeheartedly wish people would buy it and view it over and over.