Lawrence of Arabia (1962)

Director:

David Lean

Writers (WGA):

T.E. Lawrence (writings)
Robert Bolt (screenplay) ...

Release Date:

30 January 1963 (Canada)

Genre:

Adventure | Biography | Drama | War

Tagline:

The Desert Classic. (1983 Video Release)

Plot:

Epic rumination on a flamboyant and controversial British military figure and his conflicted loyalties during wartime service.

Plot Keywords:

Desert | Army | Turk | Arab | Arabian

Awards:

Won 7 Oscars. Another 19 wins & 12 nominations

Cast

Peter O'Toole	...	T.E. Lawrence
Alec Guinness	...	Prince Feisal
Anthony Quinn	...	Auda Abu Tayi
Jack Hawkins	...	General Lord Edmund Allenby
Omar Sharif	...	Sherif Ali
José Ferrer	...	Turkish Bey (as Jose Ferrer)
Anthony Quayle	...	Colonel Brighton
Claude Rains	...	Mr. Dryden
Arthur Kennedy	...	Jackson Bentley
Donald Wolfit	...	General Murray
I.S. Johar	...	Gasim
Gamil Ratib	...	Majid
Michel Ray	...	Farraj
John Dimech	...	Daud
Zia Mohyeddin	...	Tafas

Runtime:

216 min | UK:228 min (director's cut) | UK:187 min (1970 re-release) | UK:210 min (original version) | UK:222 min (premiere version) | USA:227 min (restored roadshow version)

Country:

UK | USA

Language:

English | Arabic | Turkish

Color:

Color (Technicolor)

Aspect Ratio:

2.35 : 1

Sound Mix:

70 mm 6-Track (RCA Sound Recording) (70 mm prints) | Dolby SR (35 mm prints) (restored version) | Mono (35 mm prints) (original version) | 4-Track Stereo (magnetic prints) (35 mm) (original version) | DTS 70 mm (70mm restored version)

Certification:

Hong Kong:IIA | USA:Approved (original rating) | USA:G (re-rating) (1971) | Iceland:12 | Portugal:M/12 | Canada:A (Nova Scotia) | Canada:G (Quebec) | Canada:PG (Manitoba/Ontario) | Netherlands:12 (DVD rating) | South Korea:12 | Brazil:14 | USA:PG (edited for re-rating) (1988) | West Germany:12 (f) | Argentina:Atp | Australia:M (Special Edition DVD) | Australia:PG | Chile:TE | Finland:K-16 | France:U | Ireland:PG | Norway:15 (director's cut) | Norway:16 | Singapore:PG | Spain:18 | Sweden:15 | UK:PG

Filming Locations:

Ait Benhaddou, Ouarzazate, Morocco

Company:

Horizon Pictures (II)

Trivia:

An urban myth stated that Lawrence's watch switches from his left wrist to the right in the film. Restorer Robert A. Harris actually found this to be true, but only because the second reel of film had been spliced in reverse.

Goofs:

Revealing mistakes: When Gasim is walking through the sun's anvil after falling off his camel, he begins to shed various items. During a reverse tracking shot, the dolly tracks are clearly visible in the sand.

Quotes:

[first lines]
Vicar at St. Paul's: Well nil nisi bonum. But I find something... disproportionate in all this.
Colonel Brighton: He was a remarkable chap. By any counts, remarkable.
Vicar at St. Paul's: Did you know him well?
Colonel Brighton: I knew him.

Movie Connections:

Referenced in "Dirty Jobs: Camel Rancher (#5.14)" (2009)

Soundtrack:

The Man Who Broke the Bank at Monte Carlo

a memento from the days when they made real movies

It is, in a way, depressing to watch this movie today. One winds up contrasting it with the sort of technologically slick and aesthetically shallow spectacles, like "Titanic", that garner the sort of adulation that a truly great movie like "Lawrence" received in its day, and one realizes how far we have fallen.

Ignore David Lean's painterly technique, the way he fills the screen like a canvas. Ignore Freddie Young's stunning cinematography in fulfillment of Lean's vision. Ignore the fabulous score by Maurice Jarre. Ignore the stupendous cast. Ignore the topnotch script.

What we have, beyond all this, is an absolutely gripping and psychologically perplexing character study of a uniquely enigmatic individual that keeps us on the edge of our seats for the full length of the movie. "Lawrence", at over 200 minutes, goes by faster than many a movie of half its length, due to Lean's brilliant pacing and direction, and superb acting all around. To make a comparison in the world of music, this movie, like Mahler's 8th symphony, is a universe contained within itself.

Of course, it is an exercise in self-denial and philistinism to watch this movie in anything other than the wide-screen - or "letterbox" - format, due to Lean's complete use of every inch of the wide screen. To watch it otherwise is to miss half of Lean's intention.

To use a hackneyed phrase, they simply don't make 'em like this anymore.