book one redone - Coldbacon

One of Kubrick’s themes (yes, only Kubrick has ever done this) is the
juxtaposition of social courtesy with underlying ill-will. The card game
wherein the Prince of Tübingen’s harmful accusations are given with the
utmost eloquence and restraint. How he still tips the valet on his way out.
Terrific! When Barry is waylaid by the highwayman, Captain Feeney,
whose apologies and peculiar manner of speak are utterly delightful. “And
now I’m afraid we must get on to the more regrettable stage of our brief
acquaintance.” 4
Then there is the morality issue of what happens when soldiers go to war
and leave their wives and children behind. “And where might Peter’s
father be? And how long has he been gone?” Compare this with Renoir’s
Grand Illusion where Marechal finds his Austrian lady. Kubrick’s
treatment is different in that his war widow is not necessarily a widow.
This creates a more emotionally challenging scene. So one thing I’ve been
wondering about these farmhouse stopovers is how they ever determine
when it’s time to move on? I mean, if someone said, “Do you want to stay
here and sleep with this hot blonde for a few more days, or would you
rather go back out there and be shot?” Well, anyway, moving on— 5
Characters. People love to complain about Ryan O’Neal being so lame.
Yes, he should be. Here, same argument as the music. O’Neal is as
eminently not overpowering as Ms. Barenson is beautiful. But it’s not as
if O’Neal’s character goes undeveloped. Recall the pre-boxing jab
between Barry and the big red headed guy. Note how Barry takes the line
fed him by his comrade, “If you want to vex him, ask him why he
wouldn’t see her yesterday when she came to the camp” and comes up
with “Mr. Tool, why did you hide so when Mrs. Tool came to visit you?
You afraid of getting your ears boxed?” And this goes on for several more
rounds. Friends, this is character development (or furtherance). Although I
will admit O’Neal could have been a bit more likeable.
4 Remember in Tampopo, when you are told to apologize to the pork you are
about to eat, offering the cosmic consolation that you’ll soon be joining him. I
know. It’s not the same thing. But isn’t Tampopo great?
5 Or not. For another take on this theme, try Jacques Becker’s Casque d’Or. That
farmhouse with the old lady and the bread? Why couldn’t they just run away
together? Dammit.
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