After settling his differences with a Japanese PoW camp commander, a British colonel co-operates to oversee his men's construction of a railway bridge for their captors - while oblivious to a plan by the Allies to destroy it.
Gandhi's character is fully explained as a man of nonviolence. Through his patience, he is able to drive the British out of the subcontinent. And the stubborn nature of Jinnah and his commitment towards Pakistan is portrayed.
Due to his knowledge of the native Bedouin tribes, British Lieutenant T.E. Lawrence is sent to Arabia to find Prince Faisal and serve as a liaison between the Arabs and the British in their fight against the Turks. With the aid of native Sherif Ali, Lawrence rebels against the orders of his superior officer and strikes out on a daring camel journey across the harsh desert to attack a well-guarded Turkish port. Written by
Peter O'Toole won his career-making (and legendary) part as Lawrence of Arabia after it was turned down by superstar Marlon Brando and a then-unknown Albert Finney. Both director David Lean and producer Sam Spiegel (who produced On the Waterfront (1954), the movie for which Brando and Spiegel won their first Oscars) wanted Brando, but he turned the role down (allegedly saying he didn't want to spend two years of his life riding on a camel). Their second choice Finney was put through extensive screen-tests costing 100,000 pounds, but refused to sign a seven-year contract demanded by Spiegel. O'Toole signed the seven-year contract and got the part. See more »
Further to the change of the shadow position during the "drifting" scene, this shot is of an apparent evening/dusk period where the shadow is almost directly under the camel, revealing it to be a "day-for-night" shot which must therefore have taken place near noon. See more »
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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