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#7 on the AFI List!

This is undeniably an EPIC in every sense of the word. The sheer visuals of the desert are breathtaking. I don't even know how they achieved it! Incredible sweeping wide shots, the golden colours of magic hour, and the endless sand dunes. I enjoyed the innovative framing and use of colour, from the costumes to the vast locations, which really do feel almost otherworldly. Lean's vision is unlike any other, and it's easy to see how this film has influenced generations of filmmakers. The cinematography, score, and bold choices make it a technical and artistic triumph that truly feels game-changing in filmmaking.

That said, I found myself struggling with the story, especially the main character, in many moments. Lawrence himself is beautiful, but he created a lot of confusion for me. An outsider who transforms into something almost mythic, only to unravel under the weight of his own contradictions. I often felt lost trying to pin him down: one minute he's a visionary uniting tribes, the next he's grappling with ego, violence, and a disturbing thrill at the sight of bloodshed. On one hand, I totally get it, can relate to how this would be life-altering, and then on the other... I can't. His identity and relationships are fractured, leaving me disoriented about who he truly is or what he ultimately stands for. That sense of being adrift with him might be exactly what the film intends to do to me, and in that it succeeded. The absurdity of one man's delusions in the face of war, politics, and culture left me unsettled. And so confused.

Still, I appreciated the film. Lots of layers and seemingly lots of symbolism: the desert itself is a transformative, but also takes him. The white robes and the recurring motifs of water, fire, and fate ("It is written") that underscore themes of destiny. Really, a tragedy of a man caught between worlds, in the end not belonging to either and losing himself. Destined to be alone? It left me lost in thought, down a path of introspection about self, identity, and the world.

I'm not sure if one viewing is enough for me to fully embrace the film or the character's journey. I need time to reconcile with the unease it provokes. It might take several rewatches to sit comfortably with the film, the belief, and ... everything. But even on first watch, its visuals and ambition are impossible to ignore. I can see how some people regard this as a masterpiece.

Let me know your thoughts below!

Enjoy,

Ames

Files

Lawrence of Arabia (1962)

Comments

Joe Blankenship

[sigh] this unwatched blu-ray of LoA keeps staring at me from my blu-ray shelf. Will today be the day???

Toc

Great write-up. Feel the same way in many ways. All I know is that I wish I could watch this movie on your guys' massive big screen TV! Or at least some scenes! Omar Sharif, first riding up from across the desert! So great. The night scenes. Oh man. I'm looking forward to revisiting it!

RFK Fan

I’m one of them! A masterpiece indeed, though Dr. ZHVIAGO still my favorite Lean film. This is also Spielbergs favorite Lean film and he often cites it as one of his biggest influences. You can see why. Peter O’Toole is the reason this film works so well but his supporting cast, especially Omar Sharif and Anthony Quinn, make it the classic it’s become. The logistics of pulling this off in 1963 always impress me. Thousands of extras, horses, camels to feed in the desert? Unreal

VivendoBem

***TRIGGER WARNING. TRAUMATIC SUBJECT MATTER DISCUSSED BELOW*** Along with Michael Corleone, I think Lawrence's character arc is one of the most astonishingly brilliant captured on film, but it is complex and subtle, for various reasons. Many new viewers today seem to be baffled by Lawrence's changes, especially why he turned so bloodthirsty in the third act. And, I'm sure, the reason many seem to miss it is because it was 1962 and rules, both societal and the code, allowed the film to only intimate certain details, however, when Lawrence was captured by the Turks, he was tortured and repeatedly raped which filled him with the vengeful bloodlust that we then see. It's funny, so many modern viewers miss the film's clues of what the Turks did to him and get quite jarred by the unravelling of Lawrence's character, but if you watch it again understanding the whole story, you will see what is hinted at.

Silver Machine

I must admit that after the climactic attack on Aqaba, this movie drags ponderously a bit too long for my taste. Kinda like Ben-Hur after the chariot race. But the first half of the film is so gloriously epic and beautiful that its reputation as a masterpiece is easily justified.

Teemu Laitinen

It was so great to watch this after a long while. Forgot how time just flies with this film. Old school epic film making at its best. Score by Maurice Jarre is just fabulous and the 70 mm cinematography is to die for. All those spellbinding shots, including Omar Sharif's entrance through a mirage. Freddie Young used a special 482mm lens from Panavision. Panavision still has this lens, and it is known among cinematographers as the "David Lean lens". It was created specifically for this shot and has not been used since. Great lines in this film as well. It's a bit sad when viewers miss what happens when Lawrence is captured by the Turks. Personally I think the subtetly required by the time is actually better than actually showing it. This film was my introduction to Omar Sharif and I immediately became a fan. Peter O'Toole manages to do the changes that Lawrence go trough so precisely. Alec Guinness is great as usual and delivers his lines with aplomb. Always happy to see Claude Rains in any role. Anthony Quayle does these supporting roles so fantastically well. When I first saw this film Anthony Quinn really shined for me. Auda Abu Tayi is such a memorable character right form the moment we first meet him. He just had to find something honourable didn't he. For Bond fans Majid was dubbed by Robert Rietti. Rietti was the voice of Emilio Largo in Thunderball and Tiger Tanaka in You Only Live Twice among others.

Clay F

I like it. Incredible cinematography throughout. “Like a painting.” I would enjoy to see in theater. Peter O'Toole and others did excellent. The movie is captivating. Even if a little long, went by fast for me. Not boring but keeps my attention with me looking forward to what comes next. The movie rated G made sense initially but becomes a little puzzling as the movie progresses. Prince Feisal chasing the flying Turkish planes on his horse waving his sword yelling to “fight” (with no guns) seems idiotic – I guess to rally his troops? You asked “throw a sword at the engine or pilot when the plane comes down low?” Alec Guiness (great actor) as Feisal is hard to look at/listen to. At least there is Omar Sharif as Ali. The Turkish Bey in Deraa prodding Lawrence’s body (“your skin is very fair”), and then close-up of the Turkish Bey’s lips curling into a smile, seems homoerotic. My guess is the Turkish Bey raped Lawrence (as confirmed by Viv below). Lawrence didn’t seem the same after that. An oddity (while being true to the book? and the time/place) is there not being a single female line in a movie almost 4 hours long. There were the ululating women giving Auda and his men farewell as they departed for war, and I did see a couple of nuns in the final minutes of the movie. Might have been nice to have an Arabic princess and/or a couple of British females. Lawrence did apparently die at a young age as a result of a motorcycle crash. Watching the AFI w/you has expanded my knowledge.

Stanley Etienne

One of my all time favorite films. Can't wait for the rest of the AFI top 10.

T W

Something you don't notice till you've seen it more than once, near the start at Lawrence's funeral, a guy takes offense to Arthur Kennedy's character (the american journalist) putting Lawrence down calling him a shameless exhibitionist, he says "I overheard your last remark and take the gravest possible exception, he was a very great man" "did you know him?" "no, sir, I can't claim to have known him. I once had the honor of shaking his hand in Damascus" - This is the same soldier who slaps him to the ground in the neglected Turkish hospital near the end thinking he's just some Arab, shaking his hand the next scene not realizing it's the same man.

Toc

Had a great time rewatching it, and the reaction was fine! Might not be your all-time fave, but you got the movie, you were engaged, you were plugged in.....thanks, Ames!

pickupthepieces

A great movie. Lawrence was an intriguing fellow indeed. I like that the movie doesn't shy away from that, it doesn't portray him just as this hero who united the Arabs, but as a real person with flaws, who started believing in his own perceived greatness, not always making good decisions and not just doing it for lofty reasons in the end, but also driven by a degree of blood lust and revenge. The cut from Lawrence blowing out the match to the sunrise is akin to Kubrick's famous cut in 2001 in my opinion. The way the crossing of the desert was filmed. Just sitting with it, showing the monotony, the heat, exhaustion was excellent. And of course the many incredible wide shots. Truly a masterpiece of cinematography. I do the like the exploration of the politics and war elements. But I can see how that can be more or less interesting to others. It's also a movie of it's time. Alec Guinness, a great actor of course, but an obvious Englishman playing the part of an Arab prince takes me out of the film. I think with knowing a little bit more of the backstory and other insights a rewatch sometime down the line may prove to be worth you while Ames. However, at almost 4 hours it's not a movie you just pop on.

pickupthepieces

One little tidbit I remember Peter O'Toole talk about in an interview is that when Lawrence got his whites robes, David Lean didn't really have an idea for what to with Lawrence's reaction to that. He asked Peter O'Toole to think about it. When they day came to shoot it, they found a flat plateau with a sand dune behind it and David said, here is your stage, I need a minutes worth of footage, do your thing. So Peter did his thing and in the spur of the moment he thought a young man would like to look at himself in these robes, but the only thing that could reflect something was his knife. He took it out and looked at his reflection the knife, seeing a passionate young man on the rise looking pristine. David complimented him on it. Later after the bloodshed where Lawrence shot every enemy in sight, he takes out his knife again. But now sees a driven by rage young man drenched in blood reflected back at him. A great cinematic bookend moment.

Kinokind

Once upon a time I worked at the Fox Theater, in Detroit, which is the second largest theater in America (Radio City Music Hall is the largest). It had recently undergone a massive restoration, and for the re-opening season we ran Lawrence for several weeks as a summer film. We had a crowd of over 3,000 for opening night! To our advantage we had 70mm projection equipment shooting onto one of the biggest (non IMAX) screens in the country, and full 6-channel sound. It was something to behold. 70mm has higher resolution than 4K, and there's nothing like hearing explosions going off behind you during a battle scene. I saw it many times (sometimes in pieces) during its run, and it was breathtaking. I wish there were more theaters equipped to run classic films like this. There was nothing digitized about the process. All analog, as the gods intended. No pixels, Just optics. I once drove 4 hours to see "House of Wax" (1953) in 3-D at the Science Center in Toronto. So I guess the point is, support local theaters when they show classic films (ideally not digital, but REAL film), and if you ever get the chance, see these epics on the biggest screen possible (let me tell you about 2001 in 70mm!).

Michael T

This is not a feel-good film and it's not a perfect film. It certainly is not an easy watch, particularly the second half. As you suggested, Ames, the events depicted (which are based on historical reality) might make us question the values we've been taught. I can understand your reaction to it all, and I appreciate your honesty. Above everything, however, this truly is a work of art, filled with brilliant shots that have still never been equaled.