The story of the exploits of the famed soldier and adventurer T. E. Lawrence during the Arab Revolt (1916-1918), this is a wonderful, endlessly engrossing depiction of a fascinating man and his impact on the people and the world around him. The film is directed with great skill and flair by David Lean and features some of the most beautiful cinematography that I have ever seen. During the many desert scenes, I kept thinking of Buzz Aldrin's statement when he walked on the Moon: "Magnificent desolation." The script by Robert Bolt and Michael Wilson, based on Lawrence's 1926 memoir "Seven Pillars of Wisdom", hits all of the right notes. The film never drags in spite of a running time of 3 hours and 47 minutes. The only longer films that I have ever seen are Kenneth Branagh's version of "Hamlet" and the extended cut of "The Return of the King", both of which are about 4 hours. It very deservedly won Oscars for Best Picture and Best Director.
The film stars Peter O'Toole in a simply marvellous performance as Lawrence, a strange, enigmatic and remarkable figure who often defies categorisation. Much like "Citizen Kane" and later "Gandhi", the film begins at the end with Lawrence's death in a motorcycle accident in 1935. At his memorial service at St. Paul's Cathedral, his legacy draws differing reactions. The American journalist Jackson Bentley describes him as "the most shameless exhibitionist since Barnum and Bailey" while a medical officer, who only met him briefly, considers him to have been a very great man. As becomes clear throughout, there is ample evidence to support both viewpoints.
The story then flashes back to 1916 when Lt. Lawrence was serving in Cairo. A highly educated misfit with little respect for the chain of command or traditional military discipline, Lawrence finds his post deathly dull and yearns for adventure. He is assigned to assess the prospects of the revolt of Prince Faisal, the son of the Emir of Mecca and himself the future King of both Syria and Iraq, against the Ottoman Empire. Ignoring the orders of his superior Colonel Brighton to tow the line, Lawrence advises Faisal to strike against the Turks at Aqaba rather than retreating to the relative safety of Yenbo. Faisal is impressed by his forthright attitude and understanding of the Arab mindset. Lawrence then proposes a daring plan to cross the treacherous Nefud desert to Aqaba rather than travelling by sea, which will prevent the Turks from capturing the Suez Canal. Against all odds, the prevailing wisdom and common sense, Lawrence leads a group of Arabs to victory and they capture Aqaba. In the process, he is revered by the Arabs and finally earns the respect of his fellow British officers.
Lawrence's long journey to meet Prince Faisal and the difficult crossing of the Nefud both offer invaluable insight into his character. In the case of the former, it shows the audience that he is a brave, deeply committed man with enormous stamina. It also indicates the depth of his knowledge of and appreciation for the customs of Arabia. Unlike many other British officers, Lawrence does not paint all Arabs with the same brush. He understands that the various tribes have many differences which have divided them for centuries as a result of blood feuds and perceived, sometimes even imagined, slights. The circumstances of the Nefud crossing indicate that Lawrence is a man of supreme self-confidence who goes where mere mortals fear to tread. He is possessed of not only a fearless disposition but enormous bravado, which allows him to accomplish seemingly impossible tasks. He considers himself to be an extraordinary man. However, it is implied that he may be overcompensating for perceived inadequacies as he reveals to Sherif Ali that he is the illegitimate son of the Anglo-Irish baronet Sir Thomas Chapman. It is clear that he is driven to overcome the circumstances of his birth and will go to almost any lengths to prove his worth. As many Arabs find his name difficult to pronounce, they give him the name "Aurens" and come to revere him as the next best thing to a prophet or even a Messiah.
However, Lawrence learns that he has feet of clay. He is deeply disturbed by having to execute a murderer named Gasim, whom he previously rescued after he became lost in the Nefud. He is even more disgusted with himself when he realises that he enjoyed the experience. Lawrence is later traumatised when Daud is killed by quicksand when crossing the desert from Aqaba to Cairo and again when he must kill the critically wounded Faraj to prevent him from being captured and tortured by the Turks. His most profound shock, however, comes when he is captured in Deraa and flogged at the orders of a Turkish bey, played in a scene stealing cameo by the great José Ferrer. The experience leaves Lawrence shaken and terrified as, in a rare moment of introspection, he has come to realise that he has the same vulnerabilities as anyone else. The flogging destroyed his previously unconquerable self-confidence and he returns to Cairo to resume his unfulfilling life as just another officer. General Edmund Allenby convinces him that no one else can lead the Arabs to victory at Damascus and he relents, recruiting an army made up primarily of mercenaries who care little for the cause. What follows is a bloodbath in which Lawrence, intent on revenge for his flogging, massacres the Turkish army. He regrets his actions almost immediately but by then it is of course too late. Sherif Ali describes the slaughter as cruel and barbarous, throwing Lawrence's earlier condemnation of the warring Arab tribes back in his face.
After the capture of Damascus, it becomes clear to Lawrence that the British and French governments' claims to have no designs on Arabia were worthless and that the two countries, nearing victory on the Western Front, intend to carve up the region between themselves. Lawrence had already suspected that this would be the case but kept it to himself as he knew the Arabs would never have followed him if they knew the truth. In another moment of introspection, he realises that he was a hypocrite and the revelation does not sit well with him. After Damascus is ceded to British control, Lawrence - now a colonel - returns to Britain. In the film's quietly powerful final scene, he does not respond when his chauffeur remarks that he is going home. In Arabia, Lawrence was Aurens, a revered figure who commanded respect, love and almost religious devotion. In Britain, he is merely Colonel Lawrence, a man with remarkable achievements to his name...but still just a man. At one point, he compares himself to Moses. His death in 1935 meant that he did not live to see Arab independence after World War II, in much the same way as Moses never saw the Promised Land.
In the film's immense running time, O'Toole is off the screen for at most five or six minutes. It is a phenomenal, complex and surprising performance which earned him his first of eight Best Actor Oscar nominations...and his first of eight losses. His role as Lawrence made him a star and a film legend, something which he was able to consistently build on throughout his 50 year film career.
While the film belongs to O'Toole, it has an enormously impressive supporting cast. Alec Guinness has at most twenty minutes screen time as Prince Faisal but, in a terrific performance, imbues the role with quiet dignity and wisdom. Faisal demonstrates a far greater sense of pragmatism than Lawrence is seemingly capable of. When it becomes apparent that the Arab Council will not be able to maintain control over Damascus, Faisal does not rage or spew venom but negotiates for as much independence as possible for his people.
In his only Oscar nominated role, Omar Sharif is wonderful as Sherif Ali, a composite character based on various allies of Lawrence. Ali is introduced in one of the best scenes of the film in which he kills Lawrence's guide Tafas for drinking from his well without permission, one of the first indications of Arab divisions. Ali initially has little respect for Lawrence but he changes his mind after Lawrence risks his life to save Gasim from the harsh desert. Over the course of the film, Ali becomes Lawrence's closest friend and most loyal supporter. It is generally accepted by historians that Lawrence was gay and, to that end, his relationship with Ali was written as it were a romantic one. The understated relationship is one of my favourite aspects of the film.
The rest of the cast is likewise extremely strong. Anthony Quinn is a commanding presence as Auda Abu Tayi, the short-tempered, mercurial leader of the Howeitat tribe who switches his allegiance from the Turks to the revolt. There is no love lost between Auda and Ali, which provides the clearest indication of the challenges that Lawrence must overcome in uniting the Arab tribes. Jack Hawkins is excellent as General Allenby, who is able to guide and occasionally manipulate Lawrence into going along with British plans for the region. Claude Rains has little screen time but is terrific as the civil servant Mr. Dryden, a somewhat shadowy figure who has his eye on Britain's long-term interests. Colonel Brighton, played in a great performance by Anthony Quayle is one of the most honourable and decent characters in the film. He supports Lawrence's goals in spite of some concerns over his methods and his mindset. Arthur Kennedy plays a crucial role as Jackon Bentley, a fictional stand-in for Lowell Thomas, who reports on Lawrence's exploits and helps to build his legend. The film also features strong performances in roles of varying size from Zia Mohyeddin, Donald Wolfit, Howard Marion-Crawford, I. S. Johar, Michel Rey, John Dimech and Jack Gwillim. Notably, especially for a film of its sheer length, there is not a single speaking role for a woman.
Overall, this is a fantastic film about an enigmatic, complicated man with an important historical and cultural legacy.
The film stars Peter O'Toole in a simply marvellous performance as Lawrence, a strange, enigmatic and remarkable figure who often defies categorisation. Much like "Citizen Kane" and later "Gandhi", the film begins at the end with Lawrence's death in a motorcycle accident in 1935. At his memorial service at St. Paul's Cathedral, his legacy draws differing reactions. The American journalist Jackson Bentley describes him as "the most shameless exhibitionist since Barnum and Bailey" while a medical officer, who only met him briefly, considers him to have been a very great man. As becomes clear throughout, there is ample evidence to support both viewpoints.
The story then flashes back to 1916 when Lt. Lawrence was serving in Cairo. A highly educated misfit with little respect for the chain of command or traditional military discipline, Lawrence finds his post deathly dull and yearns for adventure. He is assigned to assess the prospects of the revolt of Prince Faisal, the son of the Emir of Mecca and himself the future King of both Syria and Iraq, against the Ottoman Empire. Ignoring the orders of his superior Colonel Brighton to tow the line, Lawrence advises Faisal to strike against the Turks at Aqaba rather than retreating to the relative safety of Yenbo. Faisal is impressed by his forthright attitude and understanding of the Arab mindset. Lawrence then proposes a daring plan to cross the treacherous Nefud desert to Aqaba rather than travelling by sea, which will prevent the Turks from capturing the Suez Canal. Against all odds, the prevailing wisdom and common sense, Lawrence leads a group of Arabs to victory and they capture Aqaba. In the process, he is revered by the Arabs and finally earns the respect of his fellow British officers.
Lawrence's long journey to meet Prince Faisal and the difficult crossing of the Nefud both offer invaluable insight into his character. In the case of the former, it shows the audience that he is a brave, deeply committed man with enormous stamina. It also indicates the depth of his knowledge of and appreciation for the customs of Arabia. Unlike many other British officers, Lawrence does not paint all Arabs with the same brush. He understands that the various tribes have many differences which have divided them for centuries as a result of blood feuds and perceived, sometimes even imagined, slights. The circumstances of the Nefud crossing indicate that Lawrence is a man of supreme self-confidence who goes where mere mortals fear to tread. He is possessed of not only a fearless disposition but enormous bravado, which allows him to accomplish seemingly impossible tasks. He considers himself to be an extraordinary man. However, it is implied that he may be overcompensating for perceived inadequacies as he reveals to Sherif Ali that he is the illegitimate son of the Anglo-Irish baronet Sir Thomas Chapman. It is clear that he is driven to overcome the circumstances of his birth and will go to almost any lengths to prove his worth. As many Arabs find his name difficult to pronounce, they give him the name "Aurens" and come to revere him as the next best thing to a prophet or even a Messiah.
However, Lawrence learns that he has feet of clay. He is deeply disturbed by having to execute a murderer named Gasim, whom he previously rescued after he became lost in the Nefud. He is even more disgusted with himself when he realises that he enjoyed the experience. Lawrence is later traumatised when Daud is killed by quicksand when crossing the desert from Aqaba to Cairo and again when he must kill the critically wounded Faraj to prevent him from being captured and tortured by the Turks. His most profound shock, however, comes when he is captured in Deraa and flogged at the orders of a Turkish bey, played in a scene stealing cameo by the great José Ferrer. The experience leaves Lawrence shaken and terrified as, in a rare moment of introspection, he has come to realise that he has the same vulnerabilities as anyone else. The flogging destroyed his previously unconquerable self-confidence and he returns to Cairo to resume his unfulfilling life as just another officer. General Edmund Allenby convinces him that no one else can lead the Arabs to victory at Damascus and he relents, recruiting an army made up primarily of mercenaries who care little for the cause. What follows is a bloodbath in which Lawrence, intent on revenge for his flogging, massacres the Turkish army. He regrets his actions almost immediately but by then it is of course too late. Sherif Ali describes the slaughter as cruel and barbarous, throwing Lawrence's earlier condemnation of the warring Arab tribes back in his face.
After the capture of Damascus, it becomes clear to Lawrence that the British and French governments' claims to have no designs on Arabia were worthless and that the two countries, nearing victory on the Western Front, intend to carve up the region between themselves. Lawrence had already suspected that this would be the case but kept it to himself as he knew the Arabs would never have followed him if they knew the truth. In another moment of introspection, he realises that he was a hypocrite and the revelation does not sit well with him. After Damascus is ceded to British control, Lawrence - now a colonel - returns to Britain. In the film's quietly powerful final scene, he does not respond when his chauffeur remarks that he is going home. In Arabia, Lawrence was Aurens, a revered figure who commanded respect, love and almost religious devotion. In Britain, he is merely Colonel Lawrence, a man with remarkable achievements to his name...but still just a man. At one point, he compares himself to Moses. His death in 1935 meant that he did not live to see Arab independence after World War II, in much the same way as Moses never saw the Promised Land.
In the film's immense running time, O'Toole is off the screen for at most five or six minutes. It is a phenomenal, complex and surprising performance which earned him his first of eight Best Actor Oscar nominations...and his first of eight losses. His role as Lawrence made him a star and a film legend, something which he was able to consistently build on throughout his 50 year film career.
While the film belongs to O'Toole, it has an enormously impressive supporting cast. Alec Guinness has at most twenty minutes screen time as Prince Faisal but, in a terrific performance, imbues the role with quiet dignity and wisdom. Faisal demonstrates a far greater sense of pragmatism than Lawrence is seemingly capable of. When it becomes apparent that the Arab Council will not be able to maintain control over Damascus, Faisal does not rage or spew venom but negotiates for as much independence as possible for his people.
In his only Oscar nominated role, Omar Sharif is wonderful as Sherif Ali, a composite character based on various allies of Lawrence. Ali is introduced in one of the best scenes of the film in which he kills Lawrence's guide Tafas for drinking from his well without permission, one of the first indications of Arab divisions. Ali initially has little respect for Lawrence but he changes his mind after Lawrence risks his life to save Gasim from the harsh desert. Over the course of the film, Ali becomes Lawrence's closest friend and most loyal supporter. It is generally accepted by historians that Lawrence was gay and, to that end, his relationship with Ali was written as it were a romantic one. The understated relationship is one of my favourite aspects of the film.
The rest of the cast is likewise extremely strong. Anthony Quinn is a commanding presence as Auda Abu Tayi, the short-tempered, mercurial leader of the Howeitat tribe who switches his allegiance from the Turks to the revolt. There is no love lost between Auda and Ali, which provides the clearest indication of the challenges that Lawrence must overcome in uniting the Arab tribes. Jack Hawkins is excellent as General Allenby, who is able to guide and occasionally manipulate Lawrence into going along with British plans for the region. Claude Rains has little screen time but is terrific as the civil servant Mr. Dryden, a somewhat shadowy figure who has his eye on Britain's long-term interests. Colonel Brighton, played in a great performance by Anthony Quayle is one of the most honourable and decent characters in the film. He supports Lawrence's goals in spite of some concerns over his methods and his mindset. Arthur Kennedy plays a crucial role as Jackon Bentley, a fictional stand-in for Lowell Thomas, who reports on Lawrence's exploits and helps to build his legend. The film also features strong performances in roles of varying size from Zia Mohyeddin, Donald Wolfit, Howard Marion-Crawford, I. S. Johar, Michel Rey, John Dimech and Jack Gwillim. Notably, especially for a film of its sheer length, there is not a single speaking role for a woman.
Overall, this is a fantastic film about an enigmatic, complicated man with an important historical and cultural legacy.
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