When you here the Stanley Kubrick you think of images. One of the many reasons Kubrick was such a remarkable filmmaker was that he came to the film industry after years working as a professional photographer for publications like Look magazine. There he learned about composition, light and of course lenses.
Not many film directors worry about the latest camera tech–cinematographers usually take that job up–but Kubrick was no ordinary director. Even though he wasn’t the first filmmaker to use the Steadicam, on The Shining, he was the first to have the rig modified so it could hover close to the ground in those legendary shots of Danny on the big wheel.
In the video below, Joe Dunton, owner of one of the biggest camera rental facilities in the United Kingdom and worked extremely closely with Stanley, takes us on a guided tour of Kubrick’s lens collection. For those who went to the traveling Stanley Kubrick exhibit (see the videos below) two to three years ago, you might have seen this video playing in the exhibit.
Kubrick rarely rented film gear or lenses and preferred to own his own. Stanley lit mostly with natural light when he could–because of his photojournalism career. Sometimes the flicker of a candle is all the light he would have, which led to the use of the legendary Zeiss lens designed for NASA as a way shooting the deep darkness of space–Kubrick used it for the evening dining room scenes in Barry Lyndon in order to capture candlelight on the slower film stocks of the day.
One of the unsung heroes in all this, it’s a man named George Hill, who was Stanley Kubrick’s go-to-guy when he wanted to create a custom lens for a project. George was also the only guy he trusted to clean his lenses collection. Enjoy!
Stanley Kubrick’s Favorite Cameras & Lenses
I’ve always been fascinated with how some of the filmmaking masters got their start. How did they break into the business? What gear did they use on their first films? What events shaped them in the early days? As many of you know I have a love for Stanley Kubrick and his films. I always knew he got his start as a photographer for LOOK Magazine but I never could find out what cameras he shot on.
I did go into a pretty lengthy post on Kubrick Lenses but now, thanks to CinemaTyler’s ongoing “Kubrick Files” series on Youtube, we can now see what cameras and photo lenses help shape this master. If you are interested in Stanley Kubrick’s early days as a photographer I recommend two amazing books on the subject:
Stanley Kubrick: Drama and Shadows
Stanley Kubrick at Look Magazine: Authorship and Genre in Photojournalism and Film
The video discusses 20 cameras and lenses including the famous Zeiss Planar 50mm F0.7, thelens Kubrick used to shoot the candlelight scenes in Barry Lyndon. We also discover Kubrick’s most beloved camera was the Arriflex 35 II, which he shot A Clockwork Orange, Barry Lyndon, Full Metal Jacket and Eyes Wide Shut.
Here are a list of the cameras and lenses discussed (via IndieWire)
1. Garflex Pacemaker Speed Graphic Camera 2. Kodak Monitor 620 3. Rolleiflex Automat 6×6 Model RF 111A 4. Rolleiflex K2 5. Rolleiflex Automat 6×6 Model K4 6. Rollei 35 7. Polaroid Pathfinder 110A 8. Leica IIIc 9. Pentax K 10. Hasselblad 11. Nikon F 12. Subminiature Minox 13. 35mm Widelux 14. Polaroid OneStep SX-70 15. Arriflex 35 IIC 16. Kinoptik Tegea 9.8mm 17. Novoflex 400mm f5.6 lens 18. Cooke Varotal 20-100mm T3 19. Cinepro 24-480mm in Arri Standard Mount 20. Zeiss Planar 50mm F0.7
Want to watch more short films by legendary filmmakers?
Our collection has short films by Martin Scorsese, Quentin Tarantino, the Coen Brothers, Chris Nolan, Tim Burton, Steven Spielberg & more.
The Shining is the legendary 1980 film starring Jack Nicholson as the protagonist of a psychological horror story. Directed by Stanley Kubrick, it’s touted to be one of the top 10 all-time scariest horror shows. The original story was written by Steven King who published a novel with the same title in 1997.
Director Stanley Kubrick was searching for a new movie after mediocre audience responses to his latest film before that, Barry Lyndon, which in fact received a number of critical acclaims. The Shining storyline focuses on Jack Torrance as he descends into madness, brought on partly by exposure to supernatural elements. It takes place in the hotel that he, his wife, and his son are caretakers for while it is closed for winter. Isolated from people and intending to write a novel with his time, Jack and his son Danny reveal an apparently shared trait of being able to “shine” or see ghosts from the past and potential future.
It’s revealed through backstory with Jack’s wife Wendy, played by Shelley Duvall, that Jack once abused their son due to a drinking problem. Viewers discover the hotel was built on a Native American burial ground and later the hotel manager advises that a previous caretaker killed his family due to cabin fever. Jack’s son has a premonition about the hotel, seeing a cascade of blood. Scatman Crothers playing the hotel chef, Dick Hallorann shares a psychic moment with Danny and we hear the term “The Shining” for the first time, describing psychic ability.
After this setup, the family maintains the status quo for a month as Jack attempts to write, without much success. During a heavy snowfall, the phone lines go out and Danny has more frightening visions. Jack has his own premonition telling his wife, when she wakes him from a nightmare, that he had seen images of killing her and their son. Danny visits an off-limits room numbered 237 and turns up later with a bruise, causing Wendy to presume Jack hurt him again.
At this point, Jack begins to see and communicate with ghosts from the hotel past, sharing drinks in the ballroom. When Wendy discusses Danny’s bruise she tells Jack that Danny says a woman in 237 did it. Jack visits the room and can see the ghost but doesn’t share this with his family. Danny has more visions and slips into a trance crying out the word, famous to movie buffs, “REDRUM.”
As the climax draws near, Wendy finds Jack’s typewritten manuscript with nothing on it but a repeating phrase, “All work and no play makes Jack a dull boy.” Now in a panic, she begs Jack for them all to leave but he threatens her. She knocks him out with a bat and locks him in a cupboard to search for a way out for herself and Danny. But Jack has disabled the radio and snowcat tractor, the only way to drive out in the snow.
As she searches through the main house, Wendy discovers that Danny has written redrum on the door. Closing it, she turns to see it reflected properly in the mirror and reads, “murder.” Jack escapes with the help of one of the ghosts and pursues Wendy who is able to save Danny by shoving him through a window to the outside but has to face Jack as he hacks through another locked door with an ax. She gets the upper hand for the moment and runs through the hotel, finding the ghosts and visions that Danny had seen.
Meanwhile, Halloran who has psychic gifts of his own has returned from his vacation, worried about what is happening at the hotel and heads there. When he arrives, he meets a similar fate and dies at Jack’s hands. Jack pursues Danny into a garden maze but the son lays down false tracks and hides successfully. Danny meets up with Wendy and they flee in Halloran’s vehicle while Jack freezes to death in a snow mound. The final scene shows Jack as a new member of the ghostly group at the hotel, as seen in a hotel photo of party goers from 1921, where he now stands smiling.
Although the story as told throughout the film is sometimes considered a masterpiece inspiring generations of horror filmmakers, it’s purported to have been a difficult shoot and production. Kubrick was fanatical about his method and pushing the actors to their limits. Shelley Duvall became sick from the stress she was under as Kubrick apparently pushed her in scenes far too often. Jack Nicholson purportedly gave up memorizing script revisions because they changed so frequently. You can see first hand what I’m talking about in the behind the scenes video below.
A number of writers agree, though, that Kubrick created something new in film for the genre due to it’s planned ambiguity. It’s never clearly stated that the hotel is haunted but only that Jack and Danny both can potentially see ghosts. Or is it that they share the same delusions? Additionally, there are long periods of silence where the audience watches Jack brood which serves to heighten the tension for watchers, where normally those periods can create irritation to an audience. But in The Shining, it sends a message to the audience that an evil is brewing in Jack’s mind as he sits and thinks.
These long moments of quiet menace serve as a perfect set up for the startling moment when Danny goes in search of his toy at night and come across Jack sitting up in bed. Again there is silence until Danny asks him what has been hinted as being on his mind already, “You’d never do anything to hurt Mom and me, would ya, Dad?” It’s a perfect foreshadowing but also serves the ambiguity. Did Danny see the future, have a hint of his father’s madness, or did he give Jack the very idea?
With the fact that Jack turned on his wife and son so readily and had a history of abuse, although we don’t know in what context he hurt his son, except that he was drunk, the movie can also be a reflection on domestic violence. It’s a biopic of a small nuclear family and being isolated for such a length of time, pressures actually do not serve to bring them close.
Kubrick is considered a genius director as far as versatility and vision. He is able to express feelings of isolation, enormity, and claustrophobia all in one in this film. The imagery is disturbing and perfectly timed for audience psychological stress set off by a score that creates further tension.
The fact that much of the ghost story is implied without ever being confirmed actually fuels the audience’s anxiety to know the truth and follow the tension to the climax. The scenes of actual horror and shock are so overdone with rivers of blood and dead bodies that it could be trite in anyone else’s hands. Here it serves to heighten the fear, dropping flashes of the gore and decay of physical fear along with Jack’s psychological menace.Although it did well enough at the box office, like many films that look to create or influence genres, it wasn’t until years later that people began to consider it a critical hit. When it came out, reviews were not glowing and it’s understandable since they pinpoint the very things that were questionable about the horror theme. There were multiple quiet moments, the gore was overdone and the characters didn’t have as much development as most people thought. But in retrospect, it’s the totality of those elements against the theme of psychological and psychic stress combined that give the movie its punch. Picking apart scenes may reveal the same criticisms that critics had at the time but the overall work has helped to define a genre.
Since the movie was filmed in 1980 and moviegoers and filmmakers alike have matured with the greater abilities of film to relay stories, it’s natural to look again at something and change your mind about its value. As time has passed, The Shining continues to be a model of horror film-making, becoming a specimen of new genre work and a pop culture icon.
In the history of dramatic films, Stanley Kubrick’s Barry Lyndon gets a beautiful ranking. It won a total of four Oscars under the production category. It is a film that is based on a novel written by William Makepeace Thackeray: ‘The Luck of Barry Lyndon,’ in 1844. The film itself was made in 1975. Stanley Kubrick was also the writer and producer of the film.
The characters who starred in it include Patrick Magee, Ryan O’Neal, Hardy Krüger and Marisa Berenson, among others. It revolves around the escapades of a fictional adventurer of the 18th century.
After its release, although the film received a lot of criticism, it is considered as one of the best films by Stanley Kubrick. In fact, polls conducted by BBC, Village Voice in 1999, Sight & Sound in 2002 and 2012, and Time in 2005, ‘Barry Lydon’ is one of the best films ever produced.
Why is this so? Anyone who has seen the film or read the plot would know better. Below is the plot of one of the finest drama movies to hit the TV screens.
The film opens with a narrator describing events, both present, and the past, taking place as the motion picture unfolds. This narrator tells the audience that in Ireland around for 50’s, the character playing Barry Redmond’s father gets into a fight over horse purchase, and is killed in the process, leaving behind a widow and a son.
Barry Lyndon grows up a depressed young man who was often in low spirits. He begins to have a crush on his cousin, Nora Brady, despite the fact that she is older than he is. She notices and goes as far as flirting with him during a card game, but it ends there.
This is probably because she sets her sights on a captain of the British Army, John Quin, who is affluent as well. This saddens Barry Lyndon greatly.
Meanwhile, with her family, Nora makes plans of using marriage to John as leverage to secure wealth. Barry, on the other hand, feeling spurned, sees John as an enemy.
This bad blood between the both of them, comes to a head one day, as the both men engage in a fight by the riverside, and Barry takes a shot at John before fleeing, thinking that he has killed him.
The police search for Barry Lyndon, but he outruns them, going towards Dublin, via the countryside. On his way, however, a notorious highway robber; Captain Feeney, dispossesses him of his horse, gun, and purse. Unable to do anything to defend himself, a sad Barry trudges ahead.
Getting to the next town, an opportunity presents himself. There is a promo going on for interested people to join the army, in return for an easy life and pension until death.
Barry Lyndon finds this interesting and enlists to join. While in the army, Barry has an encounter with a captain: Grogan, who turns out to be nice and easy going. It was Grogan who informed Barry that John, whom he thinks he killed, is alive. He also tells Barry that his bullets were replaced with something else and that the reason the fight took place, was that Nora’s family wanted Barry out of the way.
This was because Barry was proving to be an obstacle to Nora getting financially secure through marriage to John; therefore, they planned to have him killed but gave him a gun without real bullets. Barry Lyndon, of course, is greatly disappointed with this news, but he takes it in stride.
Soon after the war; the Seven Years’ War breaks out, and Barry’s regiment is posted to Germany to go and fight. On the battlefield, precisely during the Battle of Minden with a small part of the French Army, Captain Grogan is hit by the enemy, and it is obvious that he would not survive his injuries.
Barry decides that he has had enough and left the rest of his comrades, and as he leaves, he steals a uniform belonging to a courier officer, including his identification papers and his horse.
Passing through neutral Holland, he is stopped by Captain Potzdorf of the Prussian Army. Upon close inspection, the captain discovers that he is a runaway soldier traveling incognito and gives Barry Lyndon two options; either accept to be turned back to the British Army and killed for being a deserter or become a Prussian soldier.
Barry goes for the latter. Sometime later, he saves Captain Potzdorf’s life in battle and is given a special commendation by Frederick the Great.
The war finally ends two years later, in 1763 and Captain Potzdorf’s cousin, who is a police officer, employs Barry to serve an Irishman; Chevalier de Balibari, who is an expatriate and a professional gambler. This is no ordinary employment; the government thinks that Chevalier is a spy, so Barry’s true mission is to find out undercover.
But Barry has no plans to work undercover. He tells Chevalier everything, and they become fast friends, gambling together, especially as Barry has good eyesight, which is an advantage at home, tables. One day, during a game, the two partners cheat the Prince of Tübingen, who throws accusations at them, though without evidence.
The prince refuses to pay and begins to make trouble. Barry tells his employees what is going on and they, wanting to avoid the trouble that could stem from the aggrieved parties meeting, arrange for Chevalier’s expulsion from the country. Barry Lyndon tells Chevalier about their plan, and he runs away at nightfall.
Morning comes and Barry, who takes the disguise of Chevalier, is removed from the country by Potzdorf and his men; to freedom.
The previously separated partners meet again, and these two men traverse Europe, visiting gambling parlors and spas, and making money from gambling. Anyone who refuses to pay is forced to a sword duel with Barry Lyndon and ends up paying their debts. As time goes on, Barry sees how empty his life is, and decides to find a wealthy wife, to make something out of it.
His search pays at a gambling Spa, in Belgium, where he meets the Countess of Lyndon, who is not just wealthy, but beautiful as well. He goes after her and fortune smiles on him, with the death of the Countess’s husband, Sir Charles Lyndon. Barry makes the Countess his wife.
The second act opens to 1773, where a newly married Barry adopts his wife’s last name and makes England his home, living off her, with no money to his name.
The countess’s ten-year-old son, Lord Bullingdon, sees through Barry’s scheme and calls him a ‘common opportunist.’ Barry does not find this funny and resorts to physically abusing the child as often as he can.
Soon, the Countess gets pregnant and bears Barry’s son. However, the marriage becomes a sham, as a result of Barry Lyndon being an unfaithful husband and spending his wife’s money on luxurious frivolities and turning his wife to a loner.
A while later, Barry invites his mother to come and live with his family in the estate. The old woman after a period of her stay observes that Barry has everything to lose if Lady Lyndon dies because she has a first son who is not Barry’s.
She advises him to take a noble title to prevent this from happening. Barry Lyndon heeds his mother’s advice and befriends a well known Lord named Wendover, also spending a lot of his wife’s money to be accepted by members of high society.
Unfortunately, his efforts are in vain. During a birthday party in honor of Lady Lyndon, Lord Bullingdon, who is now almost an adult, takes to the stage and lets everyone know how much he dislikes his stepfather.
He goes on to add that he has decided to forgo his father’s estate as long as Barry is on its grounds and still his mother’s husband. The boy’s actions and words infuriate Barry, who rushes and begins to attack him until people around drag him off Bullingdon.
His new wealthy friends are appalled by Barry’s behavior and call it quits with being his friends. Their actions do not stop Bullingdon from leaving his estate and country for an unknown destination.
Ironically, Barry Lyndon loves and adores his own son, Bryan, whom he gives everything. For this reason, he sees nothing wrong in granting the young child’s request for an adult horse, as Bryan’s birthday gift as he turns nine. Barry tells the child never to ride the horse in his absence, but being over pampered, one day, Bryan disobeys his father. The horse throws him off, paralyzing him, and a few days later, the gravely injured Bryan dies.
In grief, his mother and father turn to religion and alcohol, respectively. Reverend Samuel Runt, employed to tutor Bullingdon and later, Bryan, becomes Lady Lyndon’s spiritual mentor.
After a while, Barry’s mother relives the reverend of his services, as the estate does not need a tutor anymore, and because his presence makes the Countess’s situation worse. This aggravates her state as Lady Lyndon tries to kill herself, but the poison she ingests is just enough to sicken her. The reverend, along with the family accountant, Graham, set out to find Bullingdon and persuade him to return home.
Bullingdon returns, on hearing of all that had happened. He meets Barry Lyndon drinking in a bar, and feeling offended that his stepfather should be comforting his mother instead, challenges him to a duel.
In a tithe barn, the duel, in which pistols are used, takes place. A coin is tossed, giving Bullingdon the right to shoot first, but the nervous young man misfires.
Next, it is Barry’s turn and not wanting to hurt Bullingdon; he shoots at the ground. However, Bullingdon is not satisfied, so he takes another shot, this time, hitting Barry on the leg.
Barry is taken to a small hospital, where he is informed by the attending surgeon that unless his affected left leg is not amputated below the knee, he will die. And so, Barry undergoes an amputation.
Bullingdon takes over his father’s estate, as Barry Lyndon convalesces. Then, he sends Graham to tell Barry to accept an annuity of five hundred guineas, as long as he is willing to leave England and never return.
The accountant also tells him that the annuity would cease, the moment Barry steps back into England. Having lost everything, including his leg, Barry accepts the proposition and leaves England with his mother.
The narrator then tells the audience that before returning to Europe, they both stop at Ireland and then continue to his country home, where Barry Lyndon continues gambling. However, he is not as successful as he used to be, during his days with Chevalier. He neither went back to England nor saw his wife after he left.
In December 1789, Lady Lyndon, now noticeably older, is seen signing a cheque for Barry’s annuity, and watching his mother, is Lord Bullingdon.
Now, here are some interesting facts about Stanley Kubrick’s Barry Lyndon.
• Kubrick was so particular about the film that he went to museums and hired 18th-century clothing for his cast, including the extras.
• The film was shot with special lenses attached to the cameras, to capture the candlelight scenes perfectly, as was to be expected in a time before electricity. He had the option of creating the illusion of candlelight scenes but decided instead to use real candlelights.
• Kubrick’s previous film generated a lot of criticism, due to its violent setting, so, he told the press little or nothing about Barry Lyndon, except the names of the cast. He was so tight-lipped about the film that his character for Lady Lyndon, was only told that the film would be based on the 18th-century setting and that she should not go out under the sun, in order to be pale skinned for her role.
• Kubrick’s daughter made an appearance in one of the scenes.
• He sent instructions to the projectionists who were showing the film because he wanted everything about it to be perfect.
• His efforts to every detail paid off; Barry Lyndon is until date, one of most highly awarded films of Kubrick.
Understanding The Cinematographic Magic Behind Barry Lyndon
Stanley Kubrick’s cinematography methods in producing Barry Lyndon were sheer madness… or pure genius! Kubrick had the vision to use only natural light throughout the scenes in Barry Lyndon.
While that may have seemed like a swell idea to him, it soon proved to be much more difficult than he had anticipated. Barry Lyndon was shot entirely on location in England and Ireland. It contained some 179 actors and took over 8 months to complete.
These factors were small feats for Kubrick’s “natural light” requirement. Another factor, the weather, was an entirely different ordeal.
Since Barry Lyndon was shot on location and not in a warehouse somewhere, the weather was a huge factor for the film’s production. In England and Ireland, the actors and production team had to travel from location to location.
The weather was never a “sure” thing for them. With its abrupt changes and uncertainty, the weather made finding the right light challenging to say the least.
Filming in the gulf stream made the Ireland scenes extremely trying. In the Gulf stream, there are two different wind currents: high and low. At any given moment, the currents could be flowing simultaneously and often in opposite directions.
The wind was unrelenting on the clouds. In any given scene, it could be light one moment with the clouds parted and dark the next with brooding clouds blocking the natural light.
Kubrick didn’t plan perfect scenes. He worked with what he was given. When he was given something he couldn’t work with he improvised.
For instance, when he had an indoor scene where the natural light needed a bit of manipulation, he would improvise by adding gels and/or tracing paper to mimic natural light through the windows.
This method allowed him to maintain a similar lighting inside throughout the day.
In other indoor scenes, Kubrick wanted to maintain the 18th-century feel by lighting some of the scenes by candlelight. As aesthetically appealing as that may seem, it proved too difficult to accommodate.
With the flickering lights of the many candles, it was hard to catch the proper lighting in certain scenes. Not willing to give up on that 18th-century theme, Kubrick found a lens that would do the trick.
That new lens was one designed specifically by NASA. Its sole purpose was to take pictures of the dark side of the moon. The new camera lens proved to be the perfect cure to the lighting issue. That coupled with reflectors and heat shields created ideally picturesque candlelit scenes.
In an interview, Kubrick said he did not dwell on the camera… he did not like to think about it at all. He also did not believe in extensive story boarding or overly planning scenes.
He simply had all the actors dressed in full costume and makeup and had them start the scenes. At dawn, they began trying to find the perfect first shot. When finding that perfect shot seemed unattainable, Kubrick would find his influence in 18th-century paintings.
These paintings typically detailed just the right setting lighting for scenes. In the end, it would all tend to flow.