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Email By Aglaia Berlutti. In the cinema, sometimes the form is as important as the substance. Stanley Kubrick knew it and without a doubt, that perception of cinema as a reflection of contradiction was what gave his work that disconcerting depth that marked a milestone in the history of cinematography. A complex vision of the way in which cinema can tell stories, but above all, the scope of the nuances and the notions about what visual language hides as a reflection of what surrounds it.

He did it with that shy and slightly quirky sense of humor that he always hid under a tense expression. For the director, reality was flat, elementary. So he always insisted on rebuilding it to suit him. A completely new perception of aesthetics as a vehicle of formal expression. In his photographs, there is an impeccable balance, a mimetic game of light and shadow that turns spaces into very concrete messages, in a very specific type of language.

Kubrick conceived the image not only as a vehicle that allowed telling a story, but as a story in itself. The photographic work of the young Kubrick announced what would be a determined need to dialogue with the existential nothingness through beauty. Aesthetics as a conceptual tool of essential weight. All of Kubrick’s stories are strangely complex, but also highly engaging. In fact, on numerous occasions it has been insisted that the film is a boring stylistic work, devoid of meaning and true substance, a true visual whim of the director.

Nonetheless, the film — monumental and at times disconcerting — sums up better than any other Kubrick’s need to create a visual approach that transcends even what is considered essential to any film element worth its salt. An interpretation of the visual that transcends the mere necessity of the narrative act to become a celebration of the imagination, of the aspiration of every artist for beauty.

One very aware of his little obsessions and hobbies, which he not only enjoyed, but considered essential when developing a visual idea. Even so, the director insisted, continued to investigate and prepare the idea, with the intention of carrying it out by any means. But for some mysterious reason, the novel captivated Kubrick and made him rethink his original project into something entirely new. However, for the director it was the opportunity to capture his vision of time, beauty and aesthetics fully.

A rethinking of visual art in its purest form from the singular point of view of a man fascinated by his own passions. Obsessed with a technical virtuosity that allowed him to reach a totally new visual level, Kubrick gives free rein to his conviction of aesthetics for aesthetics, of the beauty that saves everything, of the preciousness that can justify even the simple plot tedium. Thackeray’s work is mammoth: a long description of not too substantial facts and circumstances about a character lacking in real interest.

On one occasion, the actor commented that he was delighted with Kubrick’s obsessive perfectionism and that, in fact, it was thanks to those exhausting days of work — in which Kubrick was capable of repeating the same shot up to 90 times — that he achieved his memorable performance. Kubrick’s meticulousness transformed the project into a rare and opulent technical marvel. The film was shot in natural settings, with natural lighting, and the director spent a good amount of the budget finding real period furniture to provide an undeniable authentic touch to his work.

Thanks to that almost pictorial vision of Kubrick, the film is a visual elegy where there is always something to observe and analyze, as if each object and shadow created not only a setting, but a fragment of the story. A careful fresco of the time, where even Kubrick managed to capture that overwhelming air of almost claustrophobic luxury.

And it is that the characters move in extraordinary settings, trapped in a nightmarish coldness, limited and crushed by beauty as if it were a bond from which they cannot escape.

And it is that Kubrick plays with one of his favorite arguments, the one that seems to surround each of his films: the smallness of the human being before the greatness of the universe. Tiny, clumsy and soulful Barry Lyndon seems to be wandering around a huge world in which he finds himself lost. The beauty of everything is everything, it overflows the small silences, it extends and surrounds the characters until they are suffocated.

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