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Lawrence of Arabia (1962)

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The story of T.E. Lawrence, the English officer who successfully united and led the diverse, often warring, Arab tribes during World War I in order to fight the Turks.

Director:

David Lean

Writers:

T.E. Lawrence (writings), Robert Bolt (screenplay) | 1 more credit »
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Popularity
1,567 ( 300)
Top Rated Movies #84 | Won 7 Oscars. Another 23 wins & 14 nominations. See more awards »

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Cast

Cast overview, first billed only:
Peter O'Toole ... T.E. Lawrence
Alec Guinness ... Prince Faisal
Anthony Quinn ... Auda Abu Tayi
Jack Hawkins ... General 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 John Dimech ... Daud
Zia Mohyeddin ... Tafas
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Storyline

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 Jwelch5742

Plot Summary | Plot Synopsis

Taglines:

The Desert Classic. (1983 Video Release) See more »


Certificate:

PG | See all certifications »

Parents Guide:

View content advisory »
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Details

Official Sites:

Official Facebook

Country:

UK

Language:

English | Arabic | Turkish

Release Date:

11 December 1962 (UK) See more »

Also Known As:

Lawrence de Arabia See more »

Filming Locations:

Morocco See more »

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Box Office

Budget:

$15,000,000 (estimated)

Opening Weekend USA:

$20,846, 22 September 2002, Limited Release

Gross USA:

$44,824,144

Cumulative Worldwide Gross:

$77,324,144
See more on IMDbPro »

Company Credits

Production Co:

Horizon Pictures (II) See more »
Show more on IMDbPro »

Technical Specs

Runtime:

| (director's cut) | (1970 re-release) | (original) | (premiere) | (restored roadshow)

Sound Mix:

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

Color:

Color (Technicolor)

Aspect Ratio:

2.20 : 1
See full technical specs »
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Did You Know?

Trivia

In a dried riverbed, designers built the entire town of Aqaba, Jordan, circa 1916. Contemporary Aqaba had become too modernized to serve as a location. The set consisted of 300 separate building fronts and a quarter-mile-long sea wall. On a hillside behind that, they built a half-mile square Turkish Army camp and parade ground overlooking the town. Here they filmed the Arab charge of 150 camels and 450 horses through the Turkish camp. See more »

Goofs

When Allenby and Lawrence visit the officers' bar in Cairo, immediately after Allenby says "Shall we go outside?", a bright yellow American school bus is briefly visible driving by the distant window in the right-middle portion of the frame. See more »

Quotes

[first lines]
Colonel Brighton: He was the most extraordinary man I ever knew.
Vicar at St. Paul's: Did you know him well?
Colonel Brighton: I knew him.
Vicar at St. Paul's: Well, nil nisi bonum. But did he really deserve a place in here?
See more »

Crazy Credits

The opening credits read: Introducing Peter O'Toole as T.E. Lawrence. However, O'Toole had already played very noticeable roles in two feature-length films, the Disney 1960 version of Kidnapped (1960), and The Day They Robbed the Bank of England (1960). See more »

Alternate Versions

The original release included a sequence in which Lawrence, after his arrival at Faisal's camp and before the journey into the Nefud Dresert, voluntarily undergoes a risky test of courage. He and Ali (Omar Sharif) both jump into a quicksand pit, which begins to swallow them. The idea is that whoever calls for help last has the most courage. Lawrence wins the contest, thus proving himself more worthy in the eyes of the Bedouins, particularly Ali, with whom he has been on unfriendly terms up until now. This scene helps explain why the Bedouins would follow him into the desert. It was excised from the later versions and was not included in the 1988 restoration. Still photos exist of it, however. See more »

Connections

Referenced in 'Red Dwarf' A-Z (1998) See more »

Soundtracks

Sun's Anvil
Music by Maurice Jarre
Performed by London Philharmonic Orchestra
Conducted by Maurice Jarre
See more »

Frequently Asked Questions

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User Reviews

 
Still my personal favourite
26 January 2005 | by iain_connellSee all my reviews

I first saw this film on its release, aged 13, and it forms an important part of my transition towards adulthood. I am pleased to see that it consistently rates 20something in the IMDb listings, even from others (whom I envy, for I can't see it with fresh eyes) who are seeing it for the first time. Pleasing too is that some of those are also teenagers, for whom a forty-three year old film must itself seem part of the past. As for the minority who are bored by intentionally slow pacing (and for whom punctuation, paragraphing and grammar are a lost art), I suggest they learn a little about the history of film-making (from which it may become apparent that much of today's fast editing techniques were invented in the 1920s: try Eisenstein's October, for example).

From the universally admired cinematography of Freddie Young, the long shot of Omar Sharif's floating mirage entry, the pre-CGI battles and pan-up scene changes, to O'Toole's florid but career-defining performance and the (then) novel time-shift narrative, this film set standards not matched even by Lean himself, and, as many reviewers have commented, financially and practically unlikely to be attempted today. I too have rarely seen such clarity of image outside of Imax, and in my view the script by Robert Bolt (and I now have learnt, an uncredited Michael Wilson) is the finest in cinema. Maurice Jarre's music and some of the acting style now seem a little excessive, but repeated viewing (around 35 times in my case) does not diminish the impact and quality, and the restoration and now DVD release still, after all these years, approaches the effect of that first 1962 viewing.

It is rare that repeated watching of a film (as opposed to a live performance) does this, and the reasons go beyond the photography, performances and editing. In my opinion, it is because the characterisation and storytelling encourage an appreciation of the ambiguity and inconsistency behind our motives and behaviour, and, in a wartime scenario, in the contrast between political expedience and personal morality. For a 13-year old, this opened a window into the adult world, and it explains why the story has resonance far beyond its setting. The film doesn't require an understanding of middle-east politics (though it does have some very current relevance), but it does require an ability to look, listen and understand. The fact that so many people rate it so highly says everything about its wider impact. When The Matrix and even Lord of the Rings have slipped out of the ratings (and the adolescents who inhabit these pages have grown up), I believe this film will still be in the 20s or 30s, perhaps enabling young people to once again see the world through adult eyes.

Like Ali, I fear Lawrence. I fear the power of art to change us, to challenge our preconceptions. Every time I see this film I learn a little more, discover something new. When I was 13 I didn't understand much, but this film helped me to see that I wanted more, knew more, than my peers. I can't rate it more highly than that.


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