Lawrence of Arabia (1962) Reviews

• Peter O'Toole as Lawrence, what a treat!

  maureenmcqueen2018-07-10

  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.

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• Still my personal favourite

  iain_connell2005-01-26

  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.

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• Simultaneously personal and panoramic

  MidniteRambler2004-05-23

  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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• Review-proof

  rbhagwat2004-12-23

  I first saw this movie on a scratchy VHS almost twenty years ago (I was 10). Liked it (sort of-enjoyed the battle scenes and the train blowing up), but didn't understand why my dad was so crazy about it. The next time was on laserdisc (remember those?) almost 10 years ago and I was hooked. I finally got it - the conflict, the performances, the music, the dialogue - all mesmerising. But it was only in 2002, when I saw the 40th-anniversary reissue on 70mm that I was completely blown away seeing the scale, the enormity of Lean's accomplishment. There were scenes that gave me goosepimples (the opening credits, the cut from the matchstick to the desert sunrise, "nothing is written" - others too numerous to mention). The point of this rather rambling review is this - a movie that can evoke such passion in its admirers stands by itself, beyond reviews or criticism. If you haven't seen it yet I envy you, because you get to experience it for the first time.

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• A Majestic Masterpiece Beyond All Other

  Le-Samourai2004-11-01

  Spoilers herein. There are films that define a time. There are films that define a genre. There are films that define cinema. 'Lawrence of Arabia' defines all of the above. Within its frames 'Lawrence of Arabia' captures the essence of a man, a time and place with unparalleled cinematic magic. Though a winner of 7 Oscars and one of the Top 100 ticket sellers of all time, most people were not able to see 'Lawrence of Arabia' the way it was intended until 1989 (and I still imagine most people have only seen it during one of its annual Christmas TV viewings). Steven Spielberg, Martin Scorsese and Robert Harris deserve massive applause for their efforts to restore this film to its 2.20:1 widescreen, 220 minute glory. I, myself (thankfully) have never seen any other version of this film. So when I first saw the film it was in its untainted glory and it's an experience I shall never forget. Never before had I seen a film that blurred the lines between storytelling and art so much. Never before had I seen a film so assured in visual storytelling. Never before had I been so transplanted into a film's world. The awesome acting, the stupendous story, the remarkable visuals, the sublime script, the fascinating dialogue and majestic music all combine to make a film like none other. 'Lawrence of Arabia' is played out in five acts, each one of them represents a different part of Lawrence's psyche. The first act is Lawrence's introduction into Arabia where he is very much an Englishman – albeit an outcast. The second act concerns his assimilation into Arabia, the taking of Aqaba and his rise to deity. The third portrays Lawrence at the peak of his military career and his growing egotism. The fourth act is his capture, torture, mental breakdown and dissertation of his troops. The fifth concerns his comeback, revenge and both his greatest and most flawed accomplishment: the slaughter of Turks and the liberation of Damascus. Every scene in these acts is essential to the development of his persona. Lean and Bolt raise the question of who Lawrence was, but they never answer the question. This is one factor that brings me back to the film time and time again – each time I watch the film I am left with a different perception of Lawrence's character. The film contains an all star cast including Peter O'Toole, Omar Sharif, Alec Guinness, Jack Hawkins and Claude Rains. Only 'JFK' rivals it in my view. Of course, there was been many all star casts that haven't performed to their usual standards, but it is not the case here. Everyone is on top of there game especially Peter O'Toole who gives the greatest cinematic performance I have ever seen. From extremes of joyous extremes and heated contempt he dominates the screen with undeniable screen presence and charisma. Many an actor would be lost on screen amidst all the sand, but O'Toole never is. Watch Lawrence's scene in the mess hall near the beginning then watch his immense 'No prisoners' scene – the change is remarkable. Omar Sharif is also superb and it is easy to see why he became a big international star following his charismatic performance. I have never been a fan of desert films and find the majority of them boring, but Freddie Young's 70mm widescreen photography brings the desert alive in such an exciting and absorbing way. The film is simply full of memorable and beautiful scenes such as Sharif's introduction, the long pan over the assault on Aqaba or the glorious reveal from a purple flag of Lawrence and Sheriff Ali leading their final army. 'Lawrence of Arabia' is a unique visual experience and one you will not forget in a hurry. Although it comes in at over three and a half hours, 'Lawrence of Arabia' never lulls and if not for the forced DVD intermission I doubt I would move at all while watching it. The innovative editing (including some of the most famous examples of direct-cutting) keeps the film moving at a brisk pace. There are no gratuitous scenes. Every scene is a required piece of the puzzle. Maurice Jarre's phenomenal music also helps keep the film going. I'm sure some of the scenes of people crossing the desert would have been tedious without his music, but with his majestic music transplanted over the images they are simply compulsive viewing. The epic action scenes are breath-taking in their scope and execution. But what gives them their impact is that Lean (perhaps limited by censorship laws) is not concerned with the visceral thrill of battle, but rather the effect they have on the battlers. What drives men to war and what do they get from it. And thankfully the action scenes are succinct and progressive with no blasted shaky-cam or CGI troops. Everything you see on screen is real and was performed, which just adds to the gob-smacking sense of the shots. It is this sense of realism that deepens the experience. If one's respect for 'Lawrence of Arabia' is not enamored after viewing the film, perhaps it will be when thinking that we will NEVER see a film like this again. No studio would take the risk of a project this big that excludes many of their 'key demographics' and 'film rules'. There are no talking parts for women. There is no love interest. There is no happy ending. 'Lawrence of Arabia' a product of Hollywood showing its balls, which for many a year it seems to have lost. 'Lawrence of Arabia' is an awe-inspiring Goliath of cinematic perfection. The best film I can lay claim to having seen.

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