[The following excerpt is from Mario Falsetto's STANLEY KUBRICK: A NARRATIVE AND STYLISTIC ANALYSIS, pp. 158-9] This grim world view continues to unfold in BARRY LYNDON . . . The strategies of long takes, long shots, elaborate mise-en-scene, slow zooms, camera and character placement are elements in a complicated formal design that help articulate many of the film's thematic concerns. The creation of Barry's character is inextricably bound to such strategies. A key component of the depiction of Barry's character is his placement within the frame, frequently in a frozen gesture with a blank facial expression. . . . Viewers come to know Barry primarily through strategies of presentation rather than more typical character-building conventions. . . . [:] frozen gestures, placement within the frame and severe restriction and limitation of the frame edge. This effect is achieved in part through the use of the slow zoom, static long takes and strategic uses of camera movement. . . . Barry is essentially a prisoner . . . In sequence after sequence . . . [h]e often looks directly ahead but not at anyone. An example of this can be found in a scene with Barry in his role as a German spy. He stands in front of Captain Potzdorf (Hardy Kruger), who is seated with his uncle, the chief of police. Barry speaks but not to anyone, nor does he direct his gaze at either man. When he does speak, it is in an unthinking manner, as if he were a machine. Many scenes find Barry in situations where his physical movements are deliberately slow, artificial and stylized, or else where he is completely immobile and locked in a frozen gesture. Barry is most frequently seen in medium or long shots . . . often shown walking or standing in a pose, with arms folded behind his back and head bent downward or looking ahead with a far-off look in his eyes. The film uses many distancing devices and maintains them throughout. . . .
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