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Drama, Adventure, Biography, History, War
IMDB rating:
David Lean
Peter O'Toole as T.E. Lawrence
Alec Guinness as Prince Feisal
Anthony Quinn as Auda abu Tayi
Jack Hawkins as General Lord Edmund Allenby
Omar Sharif as Sherif Ali
José Ferrer as Turkish Bey
Anthony Quayle as Colonel Brighton
Claude Rains as Mr. Dryden
Arthur Kennedy as Jackson Bentley
Donald Wolfit as General Sir Archibald Murray
I.S. Johar as Gasim
Gamil Ratib as Majid
Michel Ray as Farraj
John Dimech as Daud
Storyline: An inordinately complex man who has been labeled everything from hero, to charlatan, to sadist, Thomas Edward Lawrence blazed his way to glory in the Arabian desert, then sought anonymity as a common soldier under an assumed name. The story opens with the death of Lawrence in a motorcycle accident in Dorset at the age of 46, then flashbacks to recount his adventures: as a young intelligence officer in Cairo in 1916, he is given leave to investigate the progress of the Arab revolt against the Turks in World War I. In the desert, he organizes a guerrilla army and--for two years--leads the Arabs in harassing the Turks with desert raids, train-wrecking and camel attacks. Eventually, he leads his army northward and helps a British General destroy the power of the Ottoman Empire.
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A dive into the psyche of a man surrounded by magnificent landscapes
The movie is focused on the character of Lawrence of Arabia rather than the chronological events. The scenes are spectacular, such as the approaching silhouette of a camel-rider, the raids on the Turks, and the boat in the dunes (actually in the canal of Suez). The colors of the desert, from vivid yellow to dusty white, follow the evolution of Lawrence's psyche throughout the movie.
Epic in every way
Epic in every way.

The story of TE Lawrence, the English officer who united and lead the diverse, often warring, Arab tribes during World War 1 in order to fight the Turks. This unity and fight for freedom ultimately lead to the independent Arab states that we now know.

Grand in its ambition, grand in its scale, grand in its scenery and cinematography, grand in its running time. Director David Lean captures well the adventures and achievements of Lawrence, as well as his personality, contradictions and inner conflicts.

Superb cinematography - the desert vistas are a key positive of the movie.

The running time - 3 1/2 hours - does make the movie a bit of an endurance test though. Not that it is ever dull, it is just the sheer amount of time you need to set aside to watch it. Usually I would say, for something like that, that a bit of editing is in order, but there is very little that can be edited out. Almost every scene is integral to the plot. Towards the end, however, there were one or two scenes that could possibly have been cut though.

Great work from Peter O'Toole in the lead role, for which he received an Oscar nomination. Good support from a cast that includes Omar Sharif, Anthony Quinn, Alec Guinness, Jack Hawkins, Jose Ferrer, Anthony Quayle and Claude Rains. Omar Sharif received a Best Supporting Actor Oscar nomination for his performance.
arey bhiya lawrence ...... cut it out !
Lawrence of epic and a saga movie of a man in Arabia and those lot of things he does between Arabs and European powers. A huge cinema of a long duration as a memoir told in about 228 minutes (12 minutes less then 4 hours).

Well well well, so far so good.....but let me 'inquire' whats all this fuss about. I mean why was this long and big movie created, won Oscar, and is rated very high? I found this film as a really monotonous, although not complete boring account, plain, colorless, eventfully eventless, dramatically hopeless, forlorn, woebegone, abject-ed journey, despairing account of events that were so so so artificial that such kind of artificiality may be considered as a new kind of film style by movie geeks (scholars).

I will compare it with the title of the film I just found "Night of the Day of the Dawn of the Son of the Bridge of the Return of the Revenge of the Terror of the Attack of the Evil, Mutant, Alien, Flesh Eating, Hellbound, Zombified Living Dead Part 2".
Majesty in the Desert
The moment David Lean makes you aware you are in the hands of a master comes early on in "Lawrence of Arabia." Lawrence (Peter O'Toole) holds a lit match close to his lips and with one quick puff of air blows it out. Before the action is even completed, however, Lean has cut to a shot of a desert vista, with the sun slowly rising over the lip of the horizon. It's one of the most famous elliptical edits in cinema history, second maybe only to the bone/spaceship cut in "2001: A Space Odyssey." And it's only the first of countless memorable moments in "Lawrence of Arabia." The appeal of David Lean epics has always been his ability as a director to maintain an equilibrium between the scope of his films and the characters in them. Character development is never sacrificed to massive set pieces or knock-your-socks-off action sequences. "Lawrence of Arabia" has these elements too, but at heart it's a character study of one remarkable man. Lean seemed to understand that impressive landscapes alone are not inherently interesting; but if you place a fascinating character among those impressive landscapes, you can have movie magic.

"Lawrence" feels unlike other historical epics of its time. In most "big" films--I'm thinking of movies like "Ben-Hur," "Spartacus," "Cleopatra," all movies that premiered roughly around the same time as "Lawrence"--one gets the sense that directors framed compositions based on how much they were able to fit into their widescreen lenses. One rarely sees characters filmed from anything closer than a medium shot, and usually the background is stuffed to overflowing with garish art direction. Everything feels static and wooden. But in "Lawrence," Lean keeps his frames constantly alive by juxtaposing huge landscape shots with extreme close-ups of actor faces. In one especially brutal scene, after a battle that results in the slaughter of many people, the action cuts to a close-up of O'Toole, looking panicked and crazed, gripping a bloody knife in his hand as if he's reluctant to drop it, obviously both disturbed and titillated by the carnage he just witnessed. It's moments like that---not just an impressive battle scene but a character's reactions to the results of that scene---that set "Lawrence" apart from other standard epics.

And of course, I have to reserve space in my review for the performance of Mr. O'Toole. He is perhaps my favorite actor, not one of the most prolific, but certainly one of the most unpredictable. He has a flair for choosing eccentric characters that give him almost unlimited room in which to perform. He carries "Lawrence of Arabia" almost singlehandedly on his slim shoulders. That's not to say the supporting cast isn't great, but O'Toole towers above them all. O'Toole understands that the most influential figures in history could also be the most difficult and ruthless when they needed to be, and he gives Lawrence an incredibly complex characterization, leaving his audience in doubt as to whether he should be worshiped or feared, or perhaps both.

Lean would never direct an equal to "Lawrence of Arabia" again. His later films are certainly more than watchable, and "A Passage to India" is even quite remarkable in its own way, but we would never get another "Lawrence." Even more reason to appreciate it now.

My Grade: A+
"Truly, for some men nothing is written unless they write it"
An inordinately complex man who has been labeled everything from hero, to charlatan, to sadist, Thomas Edward Lawrence blazed his way to glory in the Arabian desert, then sought anonymity as a common soldier under an assumed name. The story opens with the death of Lawrence in a motorcycle accident in London at the age of 47, then flashbacks to recount his adventures: as a young intelligence officer in Cairo in 1916, he is given leave to investigate the progress of the Arab revolt against the Turks in World War I.

In the desert, he organizes a guerrilla army and--for two years--leads the Arabs in harassing the Turks with desert raids, train-wrecking and camel attacks. Eventually, he leads his army northward and helps a British General destroy the power of the Ottoman Empire David Lean's stunning film is often referred to as "One of the greatest films ever made" and one of the "greatest British films to cross the pond "and rightly so. So breathtakingly beautiful I even had the stunning colors in my dream last night and that score playing over and over again. As Spielberg said on the DVD" A film which is an inspirational to all" and I totally concur with that as I, like Spielberg won't to try direction in the future. This is the film that inspired Spielberg to make movies and the likes of Scorsese. So this is one film that no-one should miss.

A film of epic proportion and stunning visuals is overwhelming when you watch it. In modern film making it's unlikely that you will see a film so authentic as this. With the introduction of CGI, a film like this would not be made today! I doubt I'll give such a detailed review, as I am still spellbound by the film...still thinking about it's greatness. I will most likely repeat myself, so bear with me. It took 2 years to film this, but you can see the attention to detail in every frame. So well directed and so well put together with stunning visuals, which makes most films you've seen recently look average. If only films were like this now, I would be so much more happy! The screenplay has to be one of the greatest ever written. Every bit of dialogue, you want to hear and when there's no dialogue you are still engaged by the landscape and the spacial awareness of the characters-who so wonderful portray their characters, you can't help but feel part of the film.

Each actor's dialogue so brilliantly play off one another...again it's so wonderful to watch. Some outstanding performances from Peter O'Toole, and Omar Schariff, who rightly gained an Academy Award nomination, and Alec Guiness and Anthony Quale. By the end of the film, I didn't realize it was almost 4 hours long, which again shows how much I enjoyed this film. Perhaps it shows the shot attention span of people today as to some negative reviews I've read on here. That annoys me a lot. All I can say to people is this, it shouldn't matter the length of a film! That score has to be one of the greatest I've seen on film. I am still running over in my mind now, so well orchestrated it's unbelievable. Arabia contains some of the most iconic scenes in cinema history from Omar Scharrif's entrance to Lawrence standing on top of the Turkish train with a background of leaves me Wowed. Again that scene with the entrance of Omar Schariff, wow! One of the greatest entrances I've seen. So well photographed and directed, you'll never see such a scene like that again. Superb! Overall, a masterpiece of a film, which every single person on this site such watch. Such an amazing film...outstanding!
Spectacular Movie!
This movie is like no other I have ever seen. As a woman, just looking at Peter O'Toole's stunningly beautiful blue eyes was enough to capture my attention. You will not want to miss any lines in this movie as every one of them is so important. The movie is serious and sad but has humor and well written drama included. Omar Sharif plays a very important role as well and his acting is superb.

The relationships that build across the desert will make you feel as if you are there with them. Even though this movie is long, with an intermission even, you will be sad that the movie ends. You will not want it to. It is that entertaining.

I loved the Prince of Faisal also as his voice is perfect of that of a Prince of Royalty. His lines are well written and he says them perfectly.

The only thing I think this movie lacked was a few women. But, being a movie focused on war you will understand why after you see the entire movie.

Lawrence of Arabia is Definitely worth seeing again. This movie is a well known Oscar winner and deserves to be in the best top 50 of classic movies ever made!
This crazy Limey nobody digs but you've got to admire his sand
"What's your favourite film, then ?" A dread unsettling question. But if harried by the Turks, say, I'd probably have to admit to this one - while agonisingly conscious of all the other favourite films being elbowed aside. And I write as one not overly enthused about Lean's other epic ventures. RIVER KWAI I find offensive for its wilful neglect of real p.o.w. horror in favour of smugly cooked-up ironies and hack-platitudes. ZHIVAGO is undermined by hollow leads chosen only for their beauty, RYAN'S DAUGHTER is insanely overblown soap-opera while A PASSAGE TO India collapses halfway through when the thread snaps and we're just watching the actors tread water. But LAWRENCE, for me, is the real deal, a bewitching tapestry so successful at what it sets out to achieve it's almost incredible. Gobsmacking to watch and a delight to listen to it makes you feel thrilled that movies were invented.

Sure, it plays games with history. "It's not the real Lawrence, of course," Lean admitted on the box. Quite so. The real Lawrence would require a mini-series or, at the end, a chamber-drama like Anglia's excellent TV film of the Nineties with Ralph Fiennes. The massive river of events, intrigues and personnel as recorded by Lawrence himself (though questioned in some quarters) has been simplified here, channelled into a tributary of pertinent moments and symbols, a loner's odyssey, with key support figures marginalised strategically along its banks. The true extent of Lawrence's role as an Imperialist agent did not begin to be disclosed, officially, until the end of the Sixties. To suit the film's left-wing leanings and better engage with the mass blockbuster audience he's depicted initially as politically naive, an amusingly bumptious misfit with a classical education packed off into the desert, via a wily politico, partly to get him out of the hair of his C.O. who has little faith in him or his mission to foster Arab unity against their Turkish overlords ("A sideshow of a sideshow !"). That celebrated cut from the blowing-out of a match to sunrise on the desert sweeps us literally into a new world (and still does). Lean's staging, Young's photography and Jarre's surging music combine to breathtaking effect. The winsome weirdo who enjoys preening himself and teasing his own flesh is tested against lethal tribal-rivalry but fires them with a bold vision - the taking of Akaba, a sea-port undefended on its landward side. During the long trek to this objective one of his men is lost in the desert. Lawrence goes out of his way to reclaim him, earning the respect of all and they clothe him in the robes of an Arab chieftain. (In real life this was a more pragmatic suggestion from the Brits). A further rite of leadership arises when he takes it upon himself to execute a man for murder, preventing an inter-tribal war. The man he kills is the man he saved (a deft juxtaposition of two separate incidents in real life involving different people). Lawrence is later to confess to his new C.O. that he enjoyed the experience.

Akaba is successfully taken (in a stunning panning-shot) and Lawrence begins to make a name for himself. He gets promoted and becomes a guerrilla-leader in assaults on the Turkish railway. But a turning-point comes when he's captured by the Turks on a reconnaissance, is flogged and (possibly) raped before being released. His bodily integrity shattered he's further disillusioned to discover (in the film) that the promise of independence he's been peddling to the Arabs is a stitch-up to conceal the colonial interests of Britain and France. The self-hurting he once indulged in now penetrates too deeply and the self-image become abhorrent. His request to stand down is refused, he's too important now, and in bitterness and despair takes part in a revenge-massacre of retreating Turkish troops. When Allied victory is secured he's sent home, leaving the politicians to sort things out. While this makes for a fine symbolical end to the drama it also constitutes the film's biggest distortion of history. Prince Feisal effects to dismiss him in the movie while in real life Feisal needed him more than ever in the battle for nation-rights at the Versailles Peace Conference. Feisal, the real fall-guy, was treated very badly by the Europeans and only Lawrence's active intervention as his spokesman won him concessions. It's good that we now have the Ralph Fiennes film which rectifies the record.

Robert Bolt's quirky brilliant dialogue, for Lean, tends to short-change some of the characters, reducing the stature of Allenby and Sheik Auda in a generally cynical view of motives which spurred their descendants to seek redress from the film-makers. At the same time it's all wonderfully entertaining and impeccably played by a sterling cast. Omar Sharif showed potential he never has since. And though Lawrence was never really an 'innocent' Peter O'Toole riding the whirlwind with his piercing charisma (and newly-sculpted nose) has an iconic power that will live in movie-history forever - like Sir David's film the likes of which cannot be replicated now that computers have taken over much of the adventure and the excitement. One last thought - the real T.E. archaeologist and map-maker was involved in re-drawing the map of the Middle East with all its volatile consequences through the 20th century and beyond. The final irony indeed.
Freedom from the shackles of "civilization"
David Lean's Lawrence of Arabia may be well over 50 years old now, but it stands the test of time like all truly great works.

The movie details T.E. Lawrence's experiences as a British liaison who inspires the Arab revolt against Turkish rule during World War 1 (1916-1918).

At 3 hours and 47 minutes this is a LONG movie but somehow strangely hypnotic. The awesome music plays a huge part in this effect.

If you're weary of the moronic approach of too many modern films (too much CGI and roll-your-eyes action, etc.) Lawrence of Arabia is the perfect antidote.

It's mainly the story of a European man who sheds his stuffy "civilized" upbringing to revel in a new-found freedom in the desert wilderness as he integrates with the Arabs and basks in their glowing acceptance. He accomplishes this by, first, disregarding his superior's orders and honestly relating to the Arabs and, second, by proving himself unbiased to any specific tribe and willing to risk everything in helping them to defeat the Turks.

Those spoiled by modern blockbusters won't likely appreciate "Lawrence of Arabia" but those who have an eye for artistic cinema will revel in it.

Epic Of All Epics
Lawrence of Arabia is a British film based on the life of T. E. Lawrence. It was directed by David Lean and produced by Sam Spiegel through his British company, Horizon Pictures, with the screenplay by Robert Bolt and Michael Wilson. The film stars Peter O'Toole in the title role. It is widely considered one of the greatest and most influential films in the history of cinema.The film depicts Lawrence's experiences in Arabia during World War I, in particular his attacks on Aqaba and Damascus and his involvement in the Arab National Council. Its themes include Lawrence's emotional struggles with the personal violence inherent in war, his personal identity, and his divided allegiance between his native Britain and its army and his newfound comrades within the Arabian desert tribes.

This sweeping, highly literate historical epic covers the Allies' mid-eastern campaign during World War I as seen through the eyes of the enigmatic T. E. Lawrence (Peter O'Toole, in the role that made him a star). After a prologue showing us Lawrence's ultimate fate, we flash back to Cairo in 1917. A bored general staffer, Lawrence talks his way into a transfer to Arabia. Once in the desert, he befriends Sheriff Ali Ben El Kharish and draws up plans to aid the Arabs in their rebellion against the Turks. No one is ever able to discern Lawrence's motives in this matter: Prince Feisal dismisses him as yet another "desert-loving Englishman," and his British superiors assume that he's either arrogant or mad. Using a combination of diplomacy and bribery, Lawrence unites the rival Arab factions of Feisal and Auda Abu Tayi.After successfully completing his mission, Lawrence becomes an unwitting pawn of the Allies, as represented by Gen. Allenby (Jack Hawkins) and Dryden, who decide to keep using Lawrence to secure Arab cooperation against the Imperial Powers. While on a spying mission to Deraa, Lawrence is captured and tortured by a sadistic Turkish Bey. In the heat of the next battle, a wild-eyed Lawrence screams "No prisoners!" and fights more ruthlessly than ever.

The epic of all epics, Lawrence of Arabia cements director David Lean's status in the filmmaking pantheon with nearly four hours of grand scope, brilliant performances, and beautiful cinematography. Two years in the making, the movie, lensed in Spain and Jordan, ended up costing a then- staggering $13 million and won seven Academy Awards, including Best Picture and Best Director.
A miracle of a film! The true definition of an epic
I am not one of the guys who can sit and watch a 3 hrs epic film just like that. I have to be in a proper mood and have to be willing to get on a journey or an adventure, if you will, to another place and time. Happily, the conditions were right for me to watch an epic and I did watch Lawrence. A lot of things were intriguing about that film: The amazing cinematography, the framing of shots, the impeccable crowd control, and, you know, all the technical stuff. Although not as good as Lawrence's, these qualities are present in other epics as well. What really drew me into the film was T.E Lawrence's character in the film. Usually in epics, the characters take a back seat for the sake of the action or events. But here we see this intimate personal story of a man who, for some reason, challenges and tests himself: Burning his hand with the matchstick, standing in front of a man firing bullets towards him and almost killing him, and constantly going to dangerous battles with the Arabs. For what? He's not doing it for his country and most probably not for the Arabs. He is trying to prove something to himself about himself. He is a deeply self-destructive character and to have such small exquisite story of a man within the epic canvas of the wars and the desert is just extraordinary. I can't believe that Sam Spiegel really took a chance on this madly genius (and very risky) film. I give credit to him, to Robert Bolt and Michael Wilson for the amazing screenplay, to the terrific Peter O Toole and Omar Sharif and , of course, to the man himself, one of cinema's greatest filmmaking artists, Mr. David Lean.
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