- Year: 1962
- Released: 11 Dec 1962
- Country: United Kingdom
- Adwords: Won 7 Oscars. 31 wins & 15 nominations total
- IMDb: https://www.imdb.com/title/tt0056172/
- Rotten Tomatoes: https://www.rottentomatoes.com/m/Lawrence_of_Arabia
- Metacritics: https://www.metacritic.com/movie/lawrence-of-arabia-re-release
- Available in: 720p, 1080p,
- Language: English, Arabic, Turkish
- MPA Rating: Approved
- Genre: Adventure, Biography, Drama
- Runtime: 218 min
- Writer: Robert Bolt, Michael Wilson
- Director: David Lean
- Cast: Peter O’Toole, Alec Guinness, Anthony Quinn
- Keywords: based on true story, based on a true story, desert, horse, world war i,
8.3/10 | |
100/100 | |
94% – Critics | |
93% – Audience |
Lawrence of Arabia Storyline
A semi-fictional account of the exploits of British military officer T.E. Lawrence during WWI is presented, plus a prologue at his 1935 funeral where his contemporaries remark or don’t remark at how they consider him and his military contributions especially to the Great War. Viewed somewhat as an insolent man, he, a lieutenant in intelligence at a desk job in the Cairo bureau, is assigned to go on a reconnaissance mission to the Arabian peninsula to assess Prince Faisal’s efforts against the Turks. He is assigned this job in what is considered its low importance in the British still focusing their own efforts directly on the German offensive, and because of his academic knowledge of Arabia. Against the narrow confines of his original orders and advice of ranking officers in the field, Lawrence, befriending many he meets, not only the Prince but most specifically Sherif Ali, bands with the Arabs in being able to coalesce the many disparate tribes which comprise the fighting Bedouins. Things begin to change for Lawrence when the British military as a whole gets more involved in the goings-on in Arabia – they working on the presumed goals of the politicians – and Lawrence himself changes his own outlook as a human being in being caught directly in battle.
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Lawrence of Arabia Movie Reviews
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+
Quite simply movie-making on the grandest scale
At 17, I love David Lean, his films are filled with beautiful images and he also directs with real flair. Lawrence of Arabia is a perfect example of movie-making at its finest, the whole film is absolutely phenomenal in every aspect:
Whether it is the film’s visual style. Lawrence of Arabia is filled with absolutely beautiful images, such as the mirage that introduced us to Omar Sharif. I don’t think this could be possible without the astounding cinematography, or the stunning, picturesque Morrocan, Saudi Arabian, Spanish and English locations. The shots of the desert were visually jaw dropping and the battle scenes are unforgettable. But that is the thing with Lean, all of the films I have seen of his are visually stunning, Passage to India, Oliver Twist, Great Expectations, Brief Encounter and Bridge on the River Kwai all but to name a few.
Whether it is the film’s music score. I used to listen with real enthusiasm to Classic FM at the Movies every Saturday (on the radio that is), and along with the main theme of Gone With the Wind, the score’s main theme was one of the main themes that stuck out most. Maurice Jarre’s score is nothing short of outstanding, swift, sweeping, epic and even iconic. I could very well say it is probably one of my all time favourite movie scores.
Whether it is the film’s screenplay. The screenplay is intelligent and is like a withering satire on the mentality of Lawrence’s superiors, who go by the book. Like the screenplays for Casablanca, Shawshank Redemption, It’s a Wonderful Life and All About Eve, the screenplay here has lines that are a) quotable and that b)linger long into the memory, just like the story the film tells.
Whether it is the film’s acting. Peter O’Toole is the easiest starting point, for he gives one of the best performances I have ever seen on film. His performance is so flamboyant and brilliant, it just highlights what a great actor he is. He nails Lawrence’s complex character like a fitted glove, he is enigmatic and charismatic like TE Lawrence was like in real life. Supporting him all the way like iron are Alec Guiness, Claude Rains, Jack Hawkins and Jose Ferrer. Their characters aren’t as complex as Lawrence’s but they are still fully fleshed out and intriguing.
The film is very long, but thanks to the quality of the visuals, direction, screenplay, music and acting there is no time whatsoever wasted. Quite simply one of the best movies ever made, movie-making on the grandest scale. 10/10 Bethany Cox