Lawrence d'Arabie

Lawrence of Arabia (1962)

**** (out of 4)

I'm really not sure I could add anything original to what has already been said about David Lean's masterpiece epic. The story is pretty simple as for nearly three hours we follow T.E. Lawrence (Peter O'Toole) who rises to the top as a hero but quickly things take a turn for worse. LAWREANCE OF ARABIA is certainly one of the most memorable epics that has ever been made and I think it's one of those films that just beg for a large screen and in particular a theater screen. Watching it at its 50th Anniversary re-release, one really has to be amazed at the pure grand scale of it all. Did it have to run for nearly three hours? Probably not but if you took anything out of the picture it simply wouldn't have that epic feel. Today movies are long for no reason what so ever whereas in the past and with films like this they were long for a purpose. The film is pretty much flawless but I think the greatest thing it does is the visual scale of everything. Those opening shots of the desert are just marvelous to see on a large screen and those beautiful shots of the sun rising and falling. The entire scope of the sand, the mountains and the eventual battles are just something truly marvelous to behold. It's also important that the story itself didn't get lost in this massive production and Lean really does a remarkable job at telling the story and especially during the second half when the film really does focus on Lawrence and his downfall. O'Toole, Alec Guinness, Jack Hawkins, Omar Sharif and Anthony Quinn are all marvelous in their performances and you really can't see anyone else playing the parts. Add in the marvelous score, the wonderful cinematography and you've really got a film that deserves its legendary status.

The film that inspired Steven Spielberg to pursue a career as a film maker for good reason - 'Lawrence of Arabia' is a cinematic treasure - the greatest "Epic" movie, and one of the 5 greatest films ever made by almost everyone's standard.

The spectacularly gorgeous and awe inspiring cinematography of Freddie Young tips the scale for me in favor of 'Lawrence Of Arabia' as Film's greatest work of art in the Epic genre, surpassing 'Citizen Kane', and The 'Shawshank Redemption', landing at #2 on my lMDb "Top 5 Greatest Films" ever made list (see herein), topped only by 'The Godfather' (#1).

The immensity and scale of the desert creates the perfect canvas on which Lean paints his masterpiece - We shall never again see authentic location shoots on this truly epic scale, as granted permission for such is virtually impossible today.

Restoration efforts in 1988 led by Spielberg and Scorsese saved most of what would have been a tragic loss.

Now available in 4K UHD, the film has never looked better.

My grandmother took me to see 'Lawrence Of Arabia' at a beautifully restored baroque theatre when I was 12, as the film was periodically shown in such art film houses for years after its release - It is an event I will never forget.

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.

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.

It is, in a way, depressing to watch this movie today. One winds up contrasting it with the sort of technologically slick and aesthetically shallow spectacles, like "Titanic", that garner the sort of adulation that a truly great movie like "Lawrence" received in its day, and one realizes how far we have fallen.

Ignore David Lean's painterly technique, the way he fills the screen like a canvas. Ignore Freddie Young's stunning cinematography in fulfillment of Lean's vision. Ignore the fabulous score by Maurice Jarre. Ignore the stupendous cast. Ignore the topnotch script.

What we have, beyond all this, is an absolutely gripping and psychologically perplexing character study of a uniquely enigmatic individual that keeps us on the edge of our seats for the full length of the movie. "Lawrence", at over 200 minutes, goes by faster than many a movie of half its length, due to Lean's brilliant pacing and direction, and superb acting all around. To make a comparison in the world of music, this movie, like Mahler's 8th symphony, is a universe contained within itself.

Of course, it is an exercise in self-denial and philistinism to watch this movie in anything other than the wide-screen - or "letterbox" - format, due to Lean's complete use of every inch of the wide screen. To watch it otherwise is to miss half of Lean's intention.

To use a hackneyed phrase, they simply don't make 'em like this anymore.