mackjay2

What makes LAWRENCE OF ARABIA a great movie? It's all a matter of opinion of course, but I think we can consider a few things. 1) It's a long film. That fact on its own means nothing, but in this case we are given a good amount of time to be involved with Lawrence as a character--which in my opinion is the most important factor. Lawrence begins as a 'nobody' in the British Army during WWI. For reasons that are not fully clear he is sent by the Arab Bureau to meet with Prince Feisel, by way of Col. Brighton, to assess any progress in the Arab revolt against occupying Turks. Lawrence, not fully understanding his mission, soon discovers an opportunity, when Feisel clearly sees some potential in him. This ignites self-confidence in the lieutenant who had never taken much of anything seriously, including himself. Lawrence is an interesting character, something required for any film and especially for a very long one. Knowing nothing at first about the Arab culture, he goes against admonitions from Arab leaders to rescue a fallen follower, and later, ironically, takes it upon himself to execute the same man for murder. This last act came after Lawrence's rise to glory among the Arabs, whom he will lead to Aqaba, where the Turks have taken hold. He has become a heroic, inspiring figure, a complete transformation. 2) The film's slow pace and focus on Lawrence himself allows us to understand how he has changed and to witness his own surprise at what is happening to him. "Nothing is written", he says to Sherif who has balked at his every action, only to become one of his ardent admirers. So Lawrence has, perhaps unintentionally at first, proved himself in a different social environment. 3) Cinematography. This is a major accomplishment in terms of visual beauty and capture of expressive locations. As the cliché goes in some reviews: every shot is like a painting in this film, and that includes character two-shots, crowd scenes and the great battle scenes. 4) The action sequences in this film are brilliantly staged and filmed. We can feel the visceral thrill and danger. And if we remember the prolog, where we see Lawrence's fatal motorcycle crash, there is an ironic cloud over the long flashback that is the main part of the film. 5) There are no female characters in LAWRENCE OF ARABIA. This means that all interactions are between men, most who outrank the lieutenant, and many who are part of a world very different from his own, and who are confounded by his emotional response to some situations. "I've killed two men" he says in once scene (the executed murderer and the boy who is swallowed by a sand trap from which Lawrence was unable to rescue him). As the film progresses he makes friends and develops a paternal love for two boys who insist on following him. In what must have been a controversial scene, Lawrence is abducted and held prisoner by a Turkish Bey, whose performance by José Ferrer more than suggests a carnal interest in the blond Englishman. Does this situation (unexplored in the remainder of the film) cause Lawrence to question his own new sense of self? Is he now merely a captive, a potential victim? 6) The acting in this movie is on a sustained, high level. Nothing but praise can be said about O'Toole, Guinness, Sharif, Quayle, Quinn, and the rest 7) Maurice Jarre's score works very well to establish mood and support action. A classic of its kind. 8) Final comment must be made about the way this film ends. After all we have seen--this 'nobody' who becomes a hero in a foreign land. Yet, when he arrives back in Britain, he is again nothing special. The hurrahs he received when he first returned with Farraj, the Arab boy, have been forgotten. Lawrence must now adjust to 'normal' life Did David Lean make a better film than this?

A straight, simple story about the connections needed in human life. No matter how far apart, or how much time there is between them. The connections remain. David Lynch's most human film, with none of the fascinating strangeness we know from his more popular work. There's some stunning cinematography by Freddie Francis, but it's the great Richard Farnsworth --in his last film, before he ended his own life as he was about to reach age 80--who makes this wonderful film what it is.

Based on a real life story, the movie follows Alvin Straight, who travels 240 miles,from Laurens Iowa, to the town in Wisconsin for a visit with his terminally ill brother. His mode of travel is an old lawnmower, towing a trailer. Midway, he's required to replace the mower with another on, also second hand. Straight had left his daughter (Sissy Spacek) behind in Iowa. Along his road, he meets several people who add variety and interest to the journey, most memorably Danny, a man who rescues Straight when the mower threatens to crash going down steep incline, and invites him to live on his property. There is a scene with a stranger in coffee shop, where Straight tells a revealing story story that scarred his past. We have a partial understanding of Straight by the end, but the basic theme of brotherly love shines through. In its way, this is a perfectly realized work of art, a major part of Lynch's legacy.

Visually stunning at times, and opening credits that rival the best of Saul Bass (VERTIGO and many others). With a solid, original concept BRAINSTORM should have been a huge success. Why wasn't it? A fine cast of well-known names mixed with some good lesser-known ones. The dramatic conflict in the plot is clear. There is at least one disturbing scene midway, well carried out, that has strong implications for the rest of the film. It's not confusing, at least not to me. And (NO SPOILERS) the ending works pretty well, even if you don't buy it completely. Probably better known as Natalie Wood's final film than for its own considerable merits.