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Lawrence von Arabien

Originaltitel: Lawrence of Arabia
  • 1962
  • 12
  • 3 Std. 47 Min.
IMDb-BEWERTUNG
8,3/10
330.347
IHRE BEWERTUNG
BELIEBTHEIT
1.354
144
Peter O'Toole in Lawrence von Arabien (1962)
The story of T.E. Lawrence, the English officer who successfully united and led the diverse, often warring, Arab tribes during World War I in order to fight the Turks.
trailer wiedergeben4:45
8 Videos
99+ Fotos
Adventure EpicDesert AdventureEpicTragedyWar EpicAdventureBiographyDramaWar

Die Geschichte von T. E. Lawrence, dem englischen Offizier, der erfolgreich die verschiedenen, oftmals verfeindeten arabischen Stämme im Ersten Weltkrieg vereinte, um sie in den Kampf gegen ... Alles lesenDie Geschichte von T. E. Lawrence, dem englischen Offizier, der erfolgreich die verschiedenen, oftmals verfeindeten arabischen Stämme im Ersten Weltkrieg vereinte, um sie in den Kampf gegen die Türken zu führen.Die Geschichte von T. E. Lawrence, dem englischen Offizier, der erfolgreich die verschiedenen, oftmals verfeindeten arabischen Stämme im Ersten Weltkrieg vereinte, um sie in den Kampf gegen die Türken zu führen.

  • Regie
    • David Lean
  • Drehbuch
    • Robert Bolt
    • Michael Wilson
  • Hauptbesetzung
    • Peter O'Toole
    • Alec Guinness
    • Anthony Quinn
  • Siehe Produktionsinformationen bei IMDbPro
  • IMDb-BEWERTUNG
    8,3/10
    330.347
    IHRE BEWERTUNG
    BELIEBTHEIT
    1.354
    144
    • Regie
      • David Lean
    • Drehbuch
      • Robert Bolt
      • Michael Wilson
    • Hauptbesetzung
      • Peter O'Toole
      • Alec Guinness
      • Anthony Quinn
    • 826Benutzerrezensionen
    • 152Kritische Rezensionen
    • 100Metascore
  • Siehe Produktionsinformationen bei IMDbPro
  • Am besten bewerteter Film #101
    • 7 Oscars gewonnen
      • 31 Gewinne & 14 Nominierungen insgesamt

    Videos8

    Official Trailer
    Trailer 4:45
    Official Trailer
    Lawrence of Arabia - Trailer
    Trailer 4:43
    Lawrence of Arabia - Trailer
    Lawrence of Arabia - Trailer
    Trailer 4:43
    Lawrence of Arabia - Trailer
    Lawrence of Arabia
    Clip 1:58
    Lawrence of Arabia
    Lawrence of Arabia
    Clip 1:32
    Lawrence of Arabia
    Lawrence of Arabia: 50th Anniversary Theatrical Re-Release
    Promo 2:03
    Lawrence of Arabia: 50th Anniversary Theatrical Re-Release
    Lawrence of Arabia
    Promo 0:32
    Lawrence of Arabia

    Fotos300

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    Topbesetzung67

    Ändern
    Peter O'Toole
    Peter O'Toole
    • Lawrence
    Alec Guinness
    Alec Guinness
    • Prince Faisal
    Anthony Quinn
    Anthony Quinn
    • Auda Abu Tayi
    Jack Hawkins
    Jack Hawkins
    • General Edmund Allenby
    Omar Sharif
    Omar Sharif
    • Sherif Ali
    José Ferrer
    José Ferrer
    • Turkish Bey
    • (as Jose Ferrer)
    Anthony Quayle
    Anthony Quayle
    • Colonel Brighton
    Claude Rains
    Claude Rains
    • Mr. Dryden
    Arthur Kennedy
    Arthur Kennedy
    • Jackson Bentley
    Donald Wolfit
    Donald Wolfit
    • General Archibald Murray
    I.S. Johar
    I.S. Johar
    • Gasim
    Gamil Ratib
    Gamil Ratib
    • Majid
    Michel Ray
    Michel Ray
    • Farraj
    John Dimech
    John Dimech
    • Daud
    Zia Mohyeddin
    Zia Mohyeddin
    • Tafas
    Howard Marion-Crawford
    Howard Marion-Crawford
    • Medical Officer
    • (as Howard Marion Crawford)
    Jack Gwillim
    Jack Gwillim
    • Club Secretary
    Hugh Miller
    Hugh Miller
    • R.A.M.C. Colonel
    • Regie
      • David Lean
    • Drehbuch
      • Robert Bolt
      • Michael Wilson
    • Komplette Besetzung und alle Crew-Mitglieder
    • Produktion, Einspielergebnisse & mehr bei IMDbPro

    Benutzerrezensionen826

    8,3330.3K
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    Zusammenfassung

    Reviewers say 'Lawrence of Arabia' is acclaimed for its epic cinematography, powerful performances, and timeless themes. Peter O'Toole's portrayal is often lauded, along with the film's stunning desert landscapes and Maurice Jarre's score. However, some criticize historical inaccuracies, lack of emotional depth, and pacing issues. The film's romanticization of complex events is also debated, though many still consider it a masterpiece.
    KI-generiert aus den Texten der Nutzerbewertungen

    Empfohlene Bewertungen

    tedg

    A Vision that Defines Itself

    A man has an inner drive that makes him peculiar and intense. He goes to the desert and falls in love with it and its people. Gaining powerful sponsors, he has a grand vision that he accomplishes by inspiring and directing thousands. But in a very short time, that grand work is compromised and disassembled by fat cats in offices who are concerned with different values.

    True of both Lawrence and Lean. The legacy of Lawrence is still in violent disarray (I write this a short time after the Sept 11 attacks on New York). But Lean's vision was saved, and what a vision! Of this picture, it can be said that it is perfect if only because it is so visionary that it defines its own rules.

    Lean's vision is also lean, with vast zones of sonic and visual silence -- several meditations on the unperceived. Though there is a story (who are you?) this is really a film of TE's 'Seven Pillars,' which creates a romantic vision of sculpted natural forces. So powerful a depiction that Islam experienced a faddish attraction in the West, a place now enjoyed by Tibetan Buddhism. That was before.

    See here the original Obiwan, every intonation, movement and dress. See here Peter O'Toole's personality become completely entwined with the character, who is as fictionalized by our eye as by Lowell's. See the most expressive, anthropomorphic train wreck in history.

    Watch a particularly interesting brand of acting by the 'Arabs.' Macho men are acting anyway, so an actor can play an actor when he lands such a role.

    The star of the film is the clever eye of God, not the clockmaker or judge of the west but the chess player of the mirage. Its face is clearest in my mind when the Turk holds TE down for torture and smiles. Its hand in the creaking of Feisal's tent -- who would ever imagine the wind acting? (Kurosawa's 'Ran' at the beginning is the only other example I know.)

    I have a few films I admire for various. mostly intellectual qualities. But in the direct matter of visual storytelling, this one tops my list.
    10iain_connell

    Still my personal favourite

    I first saw this film on its release, aged 13, and it forms an important part of my transition towards adulthood. I am pleased to see that it consistently rates 20something in the IMDb listings, even from others (whom I envy, for I can't see it with fresh eyes) who are seeing it for the first time. Pleasing too is that some of those are also teenagers, for whom a forty-three year old film must itself seem part of the past. As for the minority who are bored by intentionally slow pacing (and for whom punctuation, paragraphing and grammar are a lost art), I suggest they learn a little about the history of film-making (from which it may become apparent that much of today's fast editing techniques were invented in the 1920s: try Eisenstein's October, for example).

    From the universally admired cinematography of Freddie Young, the long shot of Omar Sharif's floating mirage entry, the pre-CGI battles and pan-up scene changes, to O'Toole's florid but career-defining performance and the (then) novel time-shift narrative, this film set standards not matched even by Lean himself, and, as many reviewers have commented, financially and practically unlikely to be attempted today. I too have rarely seen such clarity of image outside of Imax, and in my view the script by Robert Bolt (and I now have learnt, an uncredited Michael Wilson) is the finest in cinema. Maurice Jarre's music and some of the acting style now seem a little excessive, but repeated viewing (around 35 times in my case) does not diminish the impact and quality, and the restoration and now DVD release still, after all these years, approaches the effect of that first 1962 viewing.

    It is rare that repeated watching of a film (as opposed to a live performance) does this, and the reasons go beyond the photography, performances and editing. In my opinion, it is because the characterisation and storytelling encourage an appreciation of the ambiguity and inconsistency behind our motives and behaviour, and, in a wartime scenario, in the contrast between political expedience and personal morality. For a 13-year old, this opened a window into the adult world, and it explains why the story has resonance far beyond its setting. The film doesn't require an understanding of middle-east politics (though it does have some very current relevance), but it does require an ability to look, listen and understand. The fact that so many people rate it so highly says everything about its wider impact. When The Matrix and even Lord of the Rings have slipped out of the ratings (and the adolescents who inhabit these pages have grown up), I believe this film will still be in the 20s or 30s, perhaps enabling young people to once again see the world through adult eyes.

    Like Ali, I fear Lawrence. I fear the power of art to change us, to challenge our preconceptions. Every time I see this film I learn a little more, discover something new. When I was 13 I didn't understand much, but this film helped me to see that I wanted more, knew more, than my peers. I can't rate it more highly than that.
    10evanston_dad

    Majesty in the Desert

    The moment David Lean makes you aware you are in the hands of a master comes early on in "Lawrence of Arabia." Lawrence (Peter O'Toole) holds a lit match close to his lips and with one quick puff of air blows it out. Before the action is even completed, however, Lean has cut to a shot of a desert vista, with the sun slowly rising over the lip of the horizon. It's one of the most famous elliptical edits in cinema history, second maybe only to the bone/spaceship cut in "2001: A Space Odyssey." And it's only the first of countless memorable moments in "Lawrence of Arabia." The appeal of David Lean epics has always been his ability as a director to maintain an equilibrium between the scope of his films and the characters in them. Character development is never sacrificed to massive set pieces or knock-your-socks-off action sequences. "Lawrence of Arabia" has these elements too, but at heart it's a character study of one remarkable man. Lean seemed to understand that impressive landscapes alone are not inherently interesting; but if you place a fascinating character among those impressive landscapes, you can have movie magic.

    "Lawrence" feels unlike other historical epics of its time. In most "big" films--I'm thinking of movies like "Ben-Hur," "Spartacus," "Cleopatra," all movies that premiered roughly around the same time as "Lawrence"--one gets the sense that directors framed compositions based on how much they were able to fit into their widescreen lenses. One rarely sees characters filmed from anything closer than a medium shot, and usually the background is stuffed to overflowing with garish art direction. Everything feels static and wooden. But in "Lawrence," Lean keeps his frames constantly alive by juxtaposing huge landscape shots with extreme close-ups of actor faces. In one especially brutal scene, after a battle that results in the slaughter of many people, the action cuts to a close-up of O'Toole, looking panicked and crazed, gripping a bloody knife in his hand as if he's reluctant to drop it, obviously both disturbed and titillated by the carnage he just witnessed. It's moments like that---not just an impressive battle scene but a character's reactions to the results of that scene---that set "Lawrence" apart from other standard epics.

    And of course, I have to reserve space in my review for the performance of Mr. O'Toole. He is perhaps my favorite actor, not one of the most prolific, but certainly one of the most unpredictable. He has a flair for choosing eccentric characters that give him almost unlimited room in which to perform. He carries "Lawrence of Arabia" almost singlehandedly on his slim shoulders. That's not to say the supporting cast isn't great, but O'Toole towers above them all. O'Toole understands that the most influential figures in history could also be the most difficult and ruthless when they needed to be, and he gives Lawrence an incredibly complex characterization, leaving his audience in doubt as to whether he should be worshiped or feared, or perhaps both.

    Lean would never direct an equal to "Lawrence of Arabia" again. His later films are certainly more than watchable, and "A Passage to India" is even quite remarkable in its own way, but we would never get another "Lawrence." Even more reason to appreciate it now.

    My Grade: A+
    10maureenmcqueen

    Peter O'Toole as Lawrence, what a treat!

    Did you know that Cary Grant had been approached to play it? Yes, as well as Albert Finney and that made a lot more sense but it was Albert Finney who said, have you considered Peter O'Toole? Who? - Yes, I love that story. It goes to prove that certain things are meant to happen. I'm sorry if I'm going on about it. But I saw Lawrence Of Arabia for the nth time in a 70mm print in a crowded theater and what came across as the one major reason this film will be relevant forever is Peter O'Toole. His performance is timeless because it is unique. Cinematic and theatrical but always true. David Lean brilliantly created a sense of intimacy in O'Toole's eyes within the vast, arid landscape. I know the film has its detractors. I heard once director Michael Apted call it a "silly movie" Wow, I had Michael Apted's quote in my mind when I saw the film last and for the life of me, I don't know what he meant. I love this film.
    10MidniteRambler

    Simultaneously personal and panoramic

    Sweeping, epic and literate version of British adventurer and soldier T E Lawrence's experiences in Arabia during the First World War. Lawrence, miraculously well played by Peter O'Toole, "went native" when sent into the desert to find Alec Guinness's Prince Feisal. Before long he was striking out himself against the Turkish Ottoman Empire, which still held sway in the region at the beginning of the last century. Lawrence's efforts to unify the various Arab factions are particularly prescient.

    Lawrence became an inspirational warlord whose neutral presence amongst the Arab tribes, lead by Omar Sharif and Anthony Quinn, amongst others, served to glue together shifting and uneasy alliances. As well as wrestling with himself, with his own demons, and with the cruel desert environment, the Englishman was also faced with culture clashes which pitted not only the imperialists against the indigenous populations, but also the mercenary practices of the Arab guerillas against the discipline of the British army. In the end, Lawrence himself does not know which side he is on, nor which party he belongs to. Set against a backdrop of the Arabian desert, the nomadic allies under Lawrence's direction, attack and disrupt the Turks' efforts to maintain control of the territory, whilst the elephant - the British army and its heavy guns under General Jack Hawkins - pushes ever deeper into the area: not until his job is done does Lawrence learn that the French and British governments have carved up the middle-east between them and that the battle-lines for the 21st century are already being drawn.

    Scripted by the inimitable Robert Bolt and directed by David Lean, Lawrence of Arabia is one of those films without a weakness, despite drawing complaints for its near four hour length. The dialogue, cinematography, soundtrack and especially direction are superlative; likewise the supporting actors. But it is O'Toole at his charismatic best who steals the show in his starring debut; he never looked back. It may take an effort to watch this movie, but is well worth the ride and will, by the bye, provide some insight into the fractious and volatile world of Arab politics.

    One of the best films ever made.

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    Handlung

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    • Wissenswertes
      King Hussein of Jordan lent an entire brigade of his Arab Legion as extras for the movie, so most of the film's "soldiers" are played by real soldiers. Hussein frequently visited the sets and became enamored of a young British secretary, Antoinette Gardiner, who became his second wife in 1962. Their eldest son, Abdullah II King Of Jordan, ascended to the throne in 1999.
    • Patzer
      When Lawrence is being escorted across the desert on his way to Faisal's camp, his Bedu guide offers to share his food with him. Lawrence is somewhat reluctant but is anxious to show that, unlike other Brits, he is at one with the desert people. He reaches into the guide's proffered dish and takes a morsel - but with his left hand, and he does it twice. The Bedu shows no reaction, but he should: among the desert Bedouin tribes, who eat by hand, the left is kept away from the food as it is the hand with which they clean themselves after defecating. It could be that the guide is observing another Bedouin custom, that of warm hospitality and unstinting generosity to strangers, and is too polite to mention the gaffe (he would probably be aware that many outsiders do not know of the taboo), but it is more likely that it is a genuine error. Peter O'Toole is left-handed, and though he goes to great lengths throughout the rest of the movie to do things right-handedly (T.E. Lawrence was right-handed), this was probably a momentary lapse that no one noticed, or thought to mention.
    • Zitate

      [Lawrence has just extinguished a match between his thumb and forefinger. William Potter surreptitiously attempts the same]

      William Potter: Ooh! It damn well 'urts!

      T.E. Lawrence: Certainly it hurts.

      Officer: What's the trick then?

      T.E. Lawrence: The trick, William Potter, is not minding that it hurts.

    • Crazy Credits
      The opening credits read: Introducing Peter O'Toole as T.E. Lawrence. However, that "Introducing" credit is false as O'Toole had already played roles in Entführt - Die Abenteuer des David Balfour (1960), Bankraub des Jahrhunderts (1960) and Im Land der langen Schatten (1960).
    • Alternative Versionen
      There are technically four versions of the film: the original 222 minute print, then cut to 202 minutes after its 1962 premiere, the 187 minute 1970 theatrical re-cut and the 228 minute including the overture, entr'acte music and play-out music in the 1988 restoration. Full details as follows: Originally released at 222 minutes for the UK premiere in December 1962. Shortly after premiere which took place in London in December 1962, David Lean, reportedly under the orders of producer Sam Spiegel, cut 20 minutes from the film to 202 minutes. Cuts included the shot of goggles on the tree, Brighton's "remarkable man" line to the priest, early shots of the drafting room scene, the whole officer's mess sequence where he's called a clown and upsets water on someone, and some dialogue between the General and Dryden. The 1970 theatrical re-release cut the film further to 187 minutes. The film was restored in 1988 at 228 minutes. This version, supervised by David Lean, was advertised as a Director's Cut and has been the version made available to home video formats since.
    • Verbindungen
      Featured in Hollywood: The Great Stars (1963)
    • Soundtracks
      The Man Who Broke the Bank at Monte Carlo
      (uncredited)

      Written by Fred Gilbert

      Sung a-cappella by Peter O'Toole

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    FAQ22

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    • What was Robert Bolt's contribution to the script vs. Michael Wilson's contribution, and why was Wilson denied credit?
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    Details

    Ändern
    • Erscheinungsdatum
      • 15. März 1963 (Westdeutschland)
    • Herkunftsländer
      • Vereinigtes Königreich
      • Vereinigte Staaten
    • Offizieller Standort
      • Facebook
    • Sprachen
      • Englisch
      • Arabisch
      • Türkisch
    • Auch bekannt als
      • Lawrence de Arabia
    • Drehorte
      • Wadi Rum, Jordanien(desert - red cliffs)
    • Produktionsfirma
      • Horizon Pictures (II)
    • Weitere beteiligte Unternehmen bei IMDbPro anzeigen

    Box Office

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    • Budget
      • 15.000.000 $ (geschätzt)
    • Bruttoertrag in den USA und Kanada
      • 45.306.425 $
    • Eröffnungswochenende in den USA und in Kanada
      • 20.846 $
      • 22. Sept. 2002
    • Weltweiter Bruttoertrag
      • 45.870.825 $
    Weitere Informationen zur Box Office finden Sie auf IMDbPro.

    Technische Daten

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    • Laufzeit
      3 Stunden 47 Minuten
    • Farbe
      • Color
    • Sound-Mix
      • Dolby Atmos
      • Magnaphone Western Electric(original version)

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