{"id":791,"date":"2025-11-28T16:26:37","date_gmt":"2025-11-28T13:26:37","guid":{"rendered":"https:\/\/mehmetkirtorun.com\/?p=791"},"modified":"2025-11-28T16:28:38","modified_gmt":"2025-11-28T13:28:38","slug":"barry-lyndonin-golgesinde-insan-ruhunun-ince-catlaklari","status":"publish","type":"post","link":"http:\/\/mehmetkirtorun.com\/index.php\/2025\/11\/28\/barry-lyndonin-golgesinde-insan-ruhunun-ince-catlaklari\/","title":{"rendered":"Barry Lyndon\u2019\u0131n G\u00f6lgesinde \u0130nsan Ruhunun \u0130nce \u00c7atlaklar\u0131"},"content":{"rendered":"\n

Pastoralin Alt\u0131ndaki \u00c7\u0131\u011fl\u0131k: Barry Lyndon\u2019\u0131n G\u00f6lgesinde \u0130nsan Ruhunun \u0130nce \u00c7atlaklar\u0131<\/strong><\/p>\n\n\n\n

Stanley Kubrick\u2019in Barry Lyndon<\/em>\u2019\u0131, usta y\u00f6netmenin filmografisinde en az de\u011fer verilen yap\u0131mlardan biri. Gerek sinema tutkunlar\u0131 gerekse s\u0131radan izleyiciler, Kubrick denince hemen ba\u015fka filmleri s\u0131ralar: 2001: A Space Odyssey<\/em>, The Shining<\/em>, A Clockwork Orange<\/em>, Full Metal Jacket<\/em>\u2026 Liste uzar gider. Oysa sinemasal ustal\u0131k a\u00e7\u0131s\u0131ndan bak\u0131ld\u0131\u011f\u0131nda, Barry Lyndon<\/em> belki de Kubrick\u2019in en b\u00fcy\u00fck ba\u015far\u0131s\u0131d\u0131r. Y\u00f6netmenin amac\u0131 a\u00e7\u0131k: Tarihsel d\u00f6nem filmlerine, hem hik\u00e2ye anlat\u0131m\u0131 a\u00e7\u0131s\u0131ndan hem de g\u00f6rsel estetik anlam\u0131nda hak ettikleri sayg\u0131yla yakla\u015fmak. Ortaya \u00e7\u0131kan sonu\u00e7sa sineman\u0131n d\u00f6n\u00fc\u015ft\u00fcr\u00fcc\u00fc g\u00fcc\u00fcn\u00fc t\u00fcm \u00e7\u0131plakl\u0131\u011f\u0131yla ortaya koyar: Kubrick, bizi Redmond Barry\u2019nin d\u00fcnyas\u0131na ad\u0131m ad\u0131m ta\u015f\u0131r.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

Hik\u00e2ye Bi\u00e7iminden Sinemasal Yans\u0131malara<\/strong><\/p>\n\n\n\n

\u00dc\u00e7 saati a\u015fan s\u00fcresiyle Barry Lyndon<\/em>, sab\u0131rl\u0131, pastoral bir d\u00f6nem hik\u00e2yesidir. Hareketsizli\u011fin ve dinginli\u011fin egemen oldu\u011fu, tabiatla b\u00fct\u00fcnle\u015fmi\u015f bir anlat\u0131 evreni kurar. Kubrick\u2019in ustal\u0131\u011f\u0131 yaln\u0131zca olay \u00f6rg\u00fcs\u00fcnde de\u011fil, hik\u00e2yeyi nas\u0131l<\/em> anlatt\u0131\u011f\u0131nda gizlidir. Bu anlat\u0131m\u0131n temel dayanaklar\u0131, \u00fc\u00e7 \u00f6nemli tercihle \u015fekillenir: her \u015feyi bilen bir anlat\u0131c\u0131n\u0131n varl\u0131\u011f\u0131, bilin\u00e7li bir \u015fekilde yava\u015flat\u0131lm\u0131\u015f tempo ve \u201ckarakter incelemesi\u201d t\u00fcr\u00fcyle kurulmu\u015f yap\u0131.<\/p>\n\n\n\n

Filmdeki anlat\u0131c\u0131, Kubrick sinemas\u0131nda benzersiz bir fig\u00fcrd\u00fcr. Barry Lyndon<\/em>, ba\u015f\u0131ndan sonuna kadar her \u015feyi bilen ve g\u00fcven telkin eden bir d\u0131\u015f ses taraf\u0131ndan anlat\u0131l\u0131r. Bu, Kubrick i\u00e7in al\u0131\u015f\u0131lmad\u0131k bir tercihtir. A Clockwork Orange<\/em>\u2019daki Alex ya da Lolita<\/em>\u2019daki Humbert gibi \u00f6znel anlat\u0131c\u0131lar\u0131 hat\u0131rlarsak, burada bamba\u015fka bir kurgu vard\u0131r: Yalans\u0131z, tarafs\u0131z ve tanr\u0131sal bir bak\u0131\u015f a\u00e7\u0131s\u0131yla olaylar\u0131 bize aktaran bir anlat\u0131c\u0131\u2026 Oysa Thackeray\u2019in roman\u0131nda anlat\u0131c\u0131, Barry\u2019nin kendisidir ve g\u00fcvenilmezli\u011fi hik\u00e2yeye y\u00f6n verir. Kubrick\u2019in bu tercihi neden yapt\u0131\u011f\u0131 soruldu\u011funda \u015fu s\u00f6zleriyle yan\u0131t verir:<\/p>\n\n\n\n

\u201cBir filmde, objektif ger\u00e7eklik her an g\u00f6z\u00fcn\u00fcz\u00fcn \u00f6n\u00fcndedir. Thackeray\u2019in birinci tekil \u015fah\u0131s anlat\u0131c\u0131s\u0131 sinemaya do\u011frudan aktar\u0131lamazd\u0131. Belki bir komedi olarak i\u015fe yarayabilirdi; Barry\u2019nin kendi ger\u00e7e\u011fiyle ekrandaki ger\u00e7eklik aras\u0131nda bir \u00e7eli\u015fki kurularak. Ama ben Barry Lyndon<\/em>\u2019\u0131n bir komedi olmamas\u0131 gerekti\u011fini d\u00fc\u015f\u00fcnd\u00fcm.\u201d<\/p>\n\n\n\n

Yani Kubrick, ger\u00e7eklikle alay eden bir yorumdan ziyade, izleyiciyi olaylar\u0131n duygusal ve tarihsel ba\u011flam\u0131na daha yak\u0131n k\u0131lmay\u0131 se\u00e7mi\u015ftir. Anlat\u0131c\u0131n\u0131n a\u00e7\u0131klamalar\u0131, sahnelerin derinli\u011fini g\u00fc\u00e7lendirir; izleyici, Barry\u2019nin ruhuna ve ya\u015fad\u0131\u011f\u0131 d\u00f6nemin zihniyetine bir ad\u0131m daha yakla\u015f\u0131r.<\/p>\n\n\n\n

Filmin yap\u0131s\u0131 da bir 18. y\u00fczy\u0131l roman\u0131n\u0131 and\u0131r\u0131r. B\u00f6l\u00fcmler h\u00e2linde ilerleyen anlat\u0131, iki ana ba\u015fl\u0131\u011fa ayr\u0131l\u0131r:<\/p>\n\n\n\n

    \n
  1. Redmond Barry\u2019nin Barry Lyndon unvan\u0131n\u0131 nas\u0131l elde etti\u011fine dair<\/strong><\/li>\n\n\n\n
  2. Barry Lyndon\u2019\u0131n ba\u015f\u0131na gelen felaketlerin ve talihsizliklerin hik\u00e2yesi.<\/strong><\/li>\n<\/ol>\n\n\n\n

    Bu ba\u015fl\u0131klar, d\u00f6nemin yaz\u0131n stilini yans\u0131tan resm\u00ee ve s\u00fcsl\u00fc bir dille sunulur. Kubrick, zaman\u0131n ruhunu yaln\u0131zca kost\u00fcmlerle ya da dekorla de\u011fil, anlat\u0131m bi\u00e7imiyle de ta\u015f\u0131r.<\/p>\n\n\n\n

    Filmin en \u00e7ok ele\u015ftirilen y\u00f6nlerinden biri, \u201ca\u015f\u0131r\u0131 yava\u015f\u201d olmas\u0131d\u0131r. Ama bu yava\u015fl\u0131k, kas\u0131tl\u0131 ve i\u015flevseldir. 18. y\u00fczy\u0131l\u0131n temposuna ayarlanm\u0131\u015f bir zaman alg\u0131s\u0131yla; sahneler aceleye gelmez, karakterler durur, d\u00fc\u015f\u00fcn\u00fcr, kameralar sab\u0131rla bekler. \u0130zleyiciye nefes alma, g\u00f6zlem yapma ve duygu biriktirme f\u0131rsat\u0131 tan\u0131n\u0131r.<\/p>\n\n\n\n

    Redmond Barry\u2019nin Evrensel Hik\u00e2yesi<\/strong><\/p>\n\n\n\n

    Her ne kadar Barry Lyndon<\/em> bir d\u00f6nem filmi olarak s\u0131n\u0131fland\u0131r\u0131lsa da, asl\u0131nda temelinde bir karakter incelemesi yatar. Ve bu incelemenin merkezinde, toplumun basamaklar\u0131n\u0131 t\u0131rmanmaya \u00e7al\u0131\u015fan bir adam vard\u0131r: Redmond Barry.<\/p>\n\n\n\n

    Barry, soylu bir do\u011fumla de\u011fil, s\u0131radanl\u0131kla d\u00fcnyaya gelir. Ve hayat\u0131 boyunca bir \u201ccentilmen\u201d olma hayalini kurar. \u0130lk a\u015fk\u0131 Nora ile olan ili\u015fkisi bile, sosyal stat\u00fcn\u00fcn g\u00f6lgesindedir. Nora, daha zengin ve soylu John Quin ile evlenmeyi tercih eder. Barry art\u0131k bir y\u00fckt\u00fcr, ailesi onu d\u0131\u015f d\u00fcnyaya g\u00f6nderir.<\/p>\n\n\n\n

    D\u0131\u015far\u0131da ise hayat rastlant\u0131lar, ba\u015far\u0131lar, aldan\u0131\u015flar ve \u015fanss\u0131zl\u0131klarla \u00f6r\u00fcl\u00fcd\u00fcr. Barry zaman zaman d\u00fcr\u00fcstl\u00fckle, zaman zaman kurnazl\u0131kla, zaman zaman da yaln\u0131zca \u015fansla bir yerlere gelir. Asker olur, ka\u00e7ar, yeniden asker olur, casusluk yapar, kumar oynar\u2026 Ve sonunda, Kontes Lyndon\u2019la evlenerek bir soyluluk unvan\u0131na yakla\u015f\u0131r.<\/p>\n\n\n\n

    Ama i\u015fte burada Kubrick\u2019in dramatik yap\u0131s\u0131 devreye girer: Barry, sistemi kand\u0131rarak i\u00e7ine girdi\u011fi bu d\u00fczenin ayn\u0131 zamanda kurban\u0131d\u0131r. Onu y\u00fccelten nitelikleri, ayn\u0131 zamanda y\u0131k\u0131m\u0131n\u0131 da haz\u0131rlar. \u0130\u00e7ki d\u00fc\u015fk\u00fcnl\u00fc\u011f\u00fc, \u00f6fke patlamalar\u0131, disiplinsizlik, \u00e7ocu\u011funa olan zay\u0131f yakla\u015f\u0131m\u0131\u2026 Bunlar\u0131n hepsi, yukar\u0131 t\u0131rman\u0131rken i\u015fe yarayan \u00f6zelliklerken, zirvede onu a\u015fa\u011f\u0131 \u00e7ekecektir.<\/p>\n\n\n\n

    Barry, sistemi alt etmek ister ama sistemin nimetlerinden de yararlanmay\u0131 arzular. Hem d\u0131\u015far\u0131dan gelip soylular gibi ya\u015famak ister, hem de o d\u00fcnyaya ait de\u011fildir. \u0130\u015fte bu \u00e7eli\u015fki, onun trajedisini belirler.<\/p>\n\n\n\n

    G\u00f6rselli\u011fin \u015eiiri<\/strong><\/p>\n\n\n\n

    Kubrick\u2019in sinemasal b\u00fcy\u00fcs\u00fc yaln\u0131zca anlat\u0131da de\u011fil, g\u00f6r\u00fcnt\u00fc y\u00f6netiminde de sakl\u0131d\u0131r. Barry Lyndon<\/em>, belki de sinema tarihinin en g\u00f6rkemli g\u00f6rsel deneyimlerinden biridir. Ve bu ihti\u015fam, yaln\u0131zca zarif kost\u00fcmlerden ya da ihti\u015faml\u0131 mek\u00e2nlardan kaynaklanmaz; aksine, \u0131\u015f\u0131\u011f\u0131n do\u011fall\u0131\u011f\u0131, kamera hareketlerinin sadeli\u011fi ve \u00e7er\u00e7evelemelerin resimsel niteli\u011fi sayesinde yarat\u0131l\u0131r.<\/p>\n\n\n\n

    Filmin pek \u00e7ok sahnesi yaln\u0131zca do\u011fal \u0131\u015f\u0131kla \u00e7ekilmi\u015ftir. \u00d6zellikle gece sahnelerinde, sadece mum \u0131\u015f\u0131\u011f\u0131 kullan\u0131l\u0131r. Bu teknik, d\u00f6nemin atmosferini hissettirmek a\u00e7\u0131s\u0131ndan etkileyicidir. Ama bunu ger\u00e7ekle\u015ftirebilmek i\u00e7in Kubrick, NASA taraf\u0131ndan geli\u015ftirilen \u00f6zel lensleri kullanmak zorunda kalm\u0131\u015ft\u0131r. Bu lensler, d\u00fc\u015f\u00fck \u0131\u015f\u0131kta bile net g\u00f6r\u00fcnt\u00fc almaya olanak tan\u0131r. Bu teknolojik ba\u015far\u0131lar, yaln\u0131zca sinema merakl\u0131lar\u0131n\u0131n ilgisini \u00e7ekmekle kalmaz; ayn\u0131 zamanda estetik bir mecburiyetin sonucudur. \u00c7\u00fcnk\u00fc Kubrick, izleyiciyi elektrik \u00f6ncesi bir d\u00fcnyaya \u00e7ekmek ister ve her detay bu do\u011frultuda \u015fekillendirilir.<\/p>\n\n\n\n

    Kameran\u0131n kulland\u0131\u011f\u0131 iki temel teknik vard\u0131r: geni\u015f statik planlar ve yava\u015f geri \u00e7ekilen zoom\u2019lar. \u00d6zellikle zoom tekni\u011fi, k\u00fc\u00e7\u00fck bir ayr\u0131nt\u0131yla ba\u015flay\u0131p giderek geni\u015fleyen \u00e7er\u00e7evede olay\u0131n ba\u011flam\u0131n\u0131 g\u00f6sterir. Barry\u2019nin d\u00fcellolar\u0131nda oldu\u011fu gibi: Kamera \u00f6nce silah\u0131, sonra rakipleri, sonra arka plandaki manzaray\u0131 g\u00f6sterir. Bu kademe kademe a\u00e7\u0131lan \u00e7er\u00e7eve, bireysel trajediyi evrensel insanl\u0131k durumuna d\u00f6n\u00fc\u015ft\u00fcr\u00fcr.<\/p>\n\n\n\n

    Hayat, H\u0131rs, Talih<\/strong><\/p>\n\n\n\n

    Kubrick\u2019in filmde i\u015fledi\u011fi temalar, insanl\u0131k durumunun temel meselelerine dokunur: h\u0131rs, toplumsal y\u00fckselme arzusu, kader, \u015fans ve son olarak zaman\u0131n herkesi e\u015fitleyen g\u00fcc\u00fc.<\/p>\n\n\n\n

    Barry\u2019nin hik\u00e2yesi, toplumsal basamaklar\u0131 t\u0131rmanan bireyin \u00f6yk\u00fcs\u00fcd\u00fcr. Hayat\u0131 boyunca daha fazlas\u0131n\u0131 ister. Ama bu yolculukta ba\u015far\u0131y\u0131 getiren \u00f6zellikleri, bir noktadan sonra onu a\u015fa\u011f\u0131 \u00e7eker. Bu ikilik, Kubrick\u2019in insan do\u011fas\u0131na dair derin g\u00f6zlemlerinden biridir: \u0130nsan\u0131n kendi zaferinde kendi yenilgisi sakl\u0131d\u0131r.<\/p>\n\n\n\n

    Filmin sonunda gelen epilog, bu hik\u00e2yenin tek c\u00fcmlelik \u00f6zetidir: \u201cBug\u00fcn hepsi e\u015fittir.\u201d
    Y\u00fckselenler de, d\u00fc\u015fenler de\u2026 So\u011fukkanl\u0131 soylular da, \u00f6fkeli Barry de, hepsi art\u0131k tarih olmu\u015ftur. Zamana kar\u015f\u0131 kazanacak bir m\u00fccadele yoktur.<\/p>\n\n\n\n

    Zenginlik, Yoksulluk ve Nefsin Mertebeleri<\/strong><\/p>\n\n\n\n

    Redmond Barry\u2019nin hik\u00e2yesi, yaln\u0131zca bir adam\u0131n y\u00fckselip d\u00fc\u015fmesinin de\u011fil, insan nefsinin a\u015fama a\u015fama \u015fekilleni\u015finin bir yans\u0131mas\u0131; hayata tutunmak isteyen bir gen\u00e7 adam\u0131n, aray\u0131\u015flar, arzular ve y\u0131k\u0131mlar aras\u0131nda savrulmas\u0131d\u0131r. Barry\u2019nin ya\u015fad\u0131klar\u0131, d\u0131\u015f d\u00fcnyadaki ba\u015far\u0131 ve itibar pe\u015finde ko\u015farken, i\u00e7 d\u00fcnyay\u0131 nas\u0131l ihmal etti\u011fimizin \u015fiirsel ama sert bir tasviridir.<\/p>\n\n\n\n

    Her insanda bir Redmond Barry gizlidir belki de. Daha fazlas\u0131n\u0131 isteyen, daha yukar\u0131 \u00e7\u0131kmaya \u00e7al\u0131\u015fan, kabul g\u00f6rmek, sayg\u0131 duyulmak isteyen bir benlik. Ama as\u0131l sorulmas\u0131 gereken \u015fudur: Hangi unvan, hangi servet ya da hangi zafer, ruhun derinindeki bo\u015flu\u011fu ger\u00e7ekten doldurabilir?<\/p>\n\n\n\n

    Barry\u2019nin y\u00fckseli\u015fi, nefsin emmare mertebesinde ba\u015flayan h\u0131rslarla \u015fekillenir: sevgi aray\u0131\u015f\u0131, stat\u00fc a\u00e7l\u0131\u011f\u0131, g\u00fc\u00e7 tutkusu. Her kazand\u0131\u011f\u0131 \u015fey, daha fazlas\u0131n\u0131 istemesine yol a\u00e7ar. Ancak insan\u0131n kendi i\u00e7 yolculu\u011fu, d\u0131\u015far\u0131dan kazan\u0131lanlarla tamamlanmaz. Ruhun olgunla\u015fmas\u0131, yaln\u0131zca maddi ba\u015far\u0131larla de\u011fil; kay\u0131plarla, \u00e7\u00f6k\u00fc\u015flerle ve o \u00e7\u00f6k\u00fc\u015ften \u00f6\u011frenilenlerle m\u00fcmk\u00fcnd\u00fcr. \u00c7\u00fcnk\u00fc insan en \u00e7ok kaybetti\u011finde \u00f6\u011frenir, en \u00e7ok d\u00fc\u015ft\u00fc\u011f\u00fcnde kendine d\u00f6ner.<\/p>\n\n\n\n

    Barry, intikam f\u0131rsat\u0131n\u0131 elinin tersiyle iter; belki de o an, t\u00fcm hik\u00e2yedeki en insani davran\u0131\u015f\u0131n\u0131 sergiler. Ama bu insaniyet, sistemin ac\u0131mas\u0131zl\u0131\u011f\u0131nda yer bulamaz. \u00c7\u00fcnk\u00fc bu d\u00fcnya, nefretten beslenir-merhameti cezaland\u0131r\u0131r.<\/p>\n\n\n\n

    Bu noktada, film sadece tarih\u00ee bir anlat\u0131 de\u011fil, ayn\u0131 zamanda (benim g\u00f6z\u00fcmde) tasavvufi bir alegoriye d\u00f6n\u00fc\u015f\u00fcr. Zira sonunda herkes e\u015fittir. Sarayda ya\u015fam\u0131\u015f olanla sokakta s\u00fcr\u00fcnm\u00fc\u015f olan\u0131n bedeni ayn\u0131 topra\u011fa kar\u0131\u015f\u0131r. En y\u00fcce g\u00f6r\u00fcnen de, en s\u0131radan olan da ayn\u0131 sessizli\u011fe g\u00f6m\u00fcl\u00fcr.<\/p>\n\n\n\n

    Hayat bir d\u00fcellodur; rakibimiz bazen toplum, bazen kader ama en \u00e7ok da kendimiziz.<\/p>\n\n\n\n

    G\u00f6z kama\u015ft\u0131r\u0131c\u0131 saraylar, ihti\u015faml\u0131 balolar, mum \u0131\u015f\u0131\u011f\u0131nda f\u0131s\u0131lda\u015fan hayaller… Hepsi sonunda puslu bir hat\u0131raya d\u00f6n\u00fc\u015f\u00fcr. \u0130nsan\u0131n elinde yaln\u0131zca ya\u015fanm\u0131\u015fl\u0131klar kal\u0131r.<\/p>\n\n\n\n

    Kubrick\u2019in Barry Lyndon<\/em> ile sordu\u011fu en esasl\u0131 soru budur: \u0130nsan, ger\u00e7ekten istedi\u011fi \u015feyin ne oldu\u011funu anlayana dek, ka\u00e7 kez kendi i\u00e7inden ge\u00e7ip gider?<\/p>\n\n\n\n

    Peki ya sen, d\u00fc\u015fmeden \u00f6nce durmay\u0131 bilecek misin?<\/p>\n","protected":false},"excerpt":{"rendered":"

    Pastoralin Alt\u0131ndaki \u00c7\u0131\u011fl\u0131k: Barry Lyndon\u2019\u0131n G\u00f6lgesinde \u0130nsan Ruhunun \u0130nce \u00c7atlaklar\u0131 Stanley Kubrick\u2019in Barry Lyndon\u2019\u0131, usta y\u00f6netmenin filmografisinde en az de\u011fer verilen yap\u0131mlardan biri. Gerek sinema tutkunlar\u0131 gerekse s\u0131radan izleyiciler, Kubrick denince hemen ba\u015fka filmleri s\u0131ralar: 2001: A Space Odyssey, The Shining, A Clockwork Orange, Full Metal Jacket\u2026 Liste uzar gider. Oysa sinemasal ustal\u0131k a\u00e7\u0131s\u0131ndan bak\u0131ld\u0131\u011f\u0131nda, […]<\/p>\n","protected":false},"author":1,"featured_media":795,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[31],"tags":[],"class_list":{"0":"post-791","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-film"},"yoast_head":"\nBarry Lyndon\u2019\u0131n G\u00f6lgesinde \u0130nsan Ruhunun \u0130nce \u00c7atlaklar\u0131 - \u00c7a\u011f\u0131 Okuma Denemeleri | Mehmet K\u0131rtorun<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/mehmetkirtorun.com\/index.php\/2025\/11\/28\/barry-lyndonin-golgesinde-insan-ruhunun-ince-catlaklari\/\" \/>\n<meta property=\"og:locale\" content=\"tr_TR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Barry Lyndon\u2019\u0131n G\u00f6lgesinde \u0130nsan Ruhunun \u0130nce \u00c7atlaklar\u0131 - \u00c7a\u011f\u0131 Okuma Denemeleri | Mehmet K\u0131rtorun\" \/>\n<meta property=\"og:description\" content=\"Pastoralin Alt\u0131ndaki \u00c7\u0131\u011fl\u0131k: Barry Lyndon\u2019\u0131n G\u00f6lgesinde \u0130nsan Ruhunun \u0130nce \u00c7atlaklar\u0131 Stanley Kubrick\u2019in Barry Lyndon\u2019\u0131, usta y\u00f6netmenin filmografisinde en az de\u011fer verilen yap\u0131mlardan biri. 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