Lawrence of Arabia, 1962.
Directed by David Lean.
Starring Peter O'Toole, Alec Guinness, Anthony Quinn, Jack Hawkins and Omar Sharif.
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SYNOPSIS:
T.E. Lawrence attempts to unite the hostile Arab factions during the First World War in order to lead them to victory over the ruling Turkish Empire.
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There are many films which are great. There are some which are outstanding. There are a few which are close to cinematic perfection. Above all these, there is Lawrence of Arabia.
Seeing David Lean’s masterpiece on the big screen defines why cinema is the art form it is and what can be achieved when every aspect that goes into making a film is functioning at its optimum level. The re-mastered version, released in a new 4K digital transfer in cinemas to commemorate the film’s 50th anniversary, runs for 227 minutes yet there is not a wasted scene, shot, or line of dialogue. Everything David Lean puts into the film is relevant and necessary; the film is never side tracked by needless subplots or scenes tacked on to please a particular demographic. Watching this in an age when so many films cannot hold the attention for 90 minutes, Lawrence of Arabia is a reminder of why we go to the cinema; it is the hope to see something nearing perfection in the art form we love. This is that perfection we look for. This is one of cinema’s greatest achievements.
Watching Lawrence of Arabia at the cinema in 2012 gives us a belief that cinema is not dead and that the studios still care to show films like this in their complete form, even if it is a digital transfer; one can only imagine today what a 70mm print would have looked like. The sheer scope and grandeur of the film is tear-inducing beautiful to think this was made without CGI or computer animated storyboards or any green screen trickery; everything Lean shows is real and the very thought of that is jaw-dropping (literally so). That orange sun is rising before our eyes; that landscape is really that vast; those planes are really filling the screen; those dozens of horses and camels are really charging on that city. Steven Spielberg, who is still very much influenced by David Lean, said if the film were made today it would cost $285 million to recreate without the use of digital effects. What he forgot to mention is that it would still need David Lean behind the camera to make it anywhere near as good. When watching the film with this in mind, it may be the greatest achievement in directing ever seen.
It may be a cliché to say, but the famous scene where Omar Sharif makes his entrance from a speck on the horizon to the foreground of the screen is the ultimate cinematic experience the likes of which this reviewer fears we will never see again. No music, very little dialogue, and a tension which rapidly builds from nowhere. It must be seen to be believed. Add to that the sight of Peter O’Toole and his shadow running and parading on the top of a train; the edit from the match being blown out to the full screen sunrise; the immortal line “Nothing is written” and very nearly every other scene and line in the film, and Lawrence of Arabia must be regarded as flawless. There is no evidence on screen to suggest anything else.
No star rating or marks out of ten can do justice to just how magnificent the film is. The greatest reward you can do as a film lover is to see Lawrence of Arabia at the cinema if it ever gets shown again, and there is little doubt that it will be treated to a future rerelease. It is timeless and with the sorry state of modern cinema, time shall only serve to make it better.
Flickering Myth Rating - Film: ★ ★ ★ ★ ★ / Movie: ★ ★ ★ ★ ★
Rohan Morbey - follow me on Twitter.![]()
Directed by David Lean.
Starring Peter O'Toole, Alec Guinness, Anthony Quinn, Jack Hawkins and Omar Sharif.
SYNOPSIS:
T.E. Lawrence attempts to unite the hostile Arab factions during the First World War in order to lead them to victory over the ruling Turkish Empire.
There are many films which are great. There are some which are outstanding. There are a few which are close to cinematic perfection. Above all these, there is Lawrence of Arabia.
Seeing David Lean’s masterpiece on the big screen defines why cinema is the art form it is and what can be achieved when every aspect that goes into making a film is functioning at its optimum level. The re-mastered version, released in a new 4K digital transfer in cinemas to commemorate the film’s 50th anniversary, runs for 227 minutes yet there is not a wasted scene, shot, or line of dialogue. Everything David Lean puts into the film is relevant and necessary; the film is never side tracked by needless subplots or scenes tacked on to please a particular demographic. Watching this in an age when so many films cannot hold the attention for 90 minutes, Lawrence of Arabia is a reminder of why we go to the cinema; it is the hope to see something nearing perfection in the art form we love. This is that perfection we look for. This is one of cinema’s greatest achievements.
Watching Lawrence of Arabia at the cinema in 2012 gives us a belief that cinema is not dead and that the studios still care to show films like this in their complete form, even if it is a digital transfer; one can only imagine today what a 70mm print would have looked like. The sheer scope and grandeur of the film is tear-inducing beautiful to think this was made without CGI or computer animated storyboards or any green screen trickery; everything Lean shows is real and the very thought of that is jaw-dropping (literally so). That orange sun is rising before our eyes; that landscape is really that vast; those planes are really filling the screen; those dozens of horses and camels are really charging on that city. Steven Spielberg, who is still very much influenced by David Lean, said if the film were made today it would cost $285 million to recreate without the use of digital effects. What he forgot to mention is that it would still need David Lean behind the camera to make it anywhere near as good. When watching the film with this in mind, it may be the greatest achievement in directing ever seen.
It may be a cliché to say, but the famous scene where Omar Sharif makes his entrance from a speck on the horizon to the foreground of the screen is the ultimate cinematic experience the likes of which this reviewer fears we will never see again. No music, very little dialogue, and a tension which rapidly builds from nowhere. It must be seen to be believed. Add to that the sight of Peter O’Toole and his shadow running and parading on the top of a train; the edit from the match being blown out to the full screen sunrise; the immortal line “Nothing is written” and very nearly every other scene and line in the film, and Lawrence of Arabia must be regarded as flawless. There is no evidence on screen to suggest anything else.
No star rating or marks out of ten can do justice to just how magnificent the film is. The greatest reward you can do as a film lover is to see Lawrence of Arabia at the cinema if it ever gets shown again, and there is little doubt that it will be treated to a future rerelease. It is timeless and with the sorry state of modern cinema, time shall only serve to make it better.
Flickering Myth Rating - Film: ★ ★ ★ ★ ★ / Movie: ★ ★ ★ ★ ★
Rohan Morbey - follow me on Twitter.
