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
During an appearance on The Tonight Show Starring Johnny Carson (1962) in the 1970s, Peter O'Toole was describing just how long the movie took to make by referring to the scene when T.E. Lawrence and Gen. Allenby, after their meeting, continue talking while walking down a staircase. According to O'Toole, part of the scene had to be reshot much later, "so in the final print, when I get to the bottom of the stairs, I'm a year older than I was when I started walking down them." See more »
When Lawrence is being escorted across the desert on his way to Faisal's camp, his Bedu guide offers to share his food with him. Lawrence is somewhat reluctant but is anxious to show that, unlike other Brits, he is at one with the desert people. He reaches into the guide's proffered dish and takes a morsel - but with his left hand, and he does it twice. The Bedu shows no reaction, but he should: among the desert Bedouin tribes, who eat by hand, the left is kept away from the food as it is the hand with which they clean themselves after defecating. It could be that the guide is observing another Bedouin custom, that of warm hospitality and unstinting generosity to strangers, and is too polite to mention the gaffe (he would probably be aware that many outsiders do not know of the taboo), but it is more likely that it is a genuine error. Peter O'Toole is left-handed, and though he goes to great lengths throughout the rest of the movie to do things right-handedly (T.E. Lawrence was right-handed), this was probably a momentary lapse that no one noticed, or thought to mention. See more »
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.
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