Lawrence of Arabia - movie review

As far as classic movies are concerned, David Lean's "Lawrence of Arabia" was until recently one that had largely slipped through my net, and never truly "clicked" with me. Why this should have been I am not entirely sure, as it theoretically ticks most of the boxes for me, both thematically and artistically, and another of Lean's works, "The Bridge On The River Kwai", is probably my favourite movie of all time. Anyway, I have dusted off the DVD, and thought that I would offer my thoughts and observations.

The first thing to say about this film is that the visuals are sumptuous, and the cinematography top notch. The panoramic shots of desert valleys and camel trains are breathtaking, and endow "Lawrence of Arabia" with an epic, sweeping quality. Even the crowd scenes, which few directors can make look authentic, are nicely executed.

Of course, the other central element of the film is Peter O'Toole's highly impressive portrayal of the main character. It seems that the film-makers stuck pretty much to historical record, and how much the performances are consistent with the real personalities of the people will be a matter of debate. O'Toole's performance makes Lawrence seem like an ambiguous, even nebulous figure. A mass of ambiguities and contradictions, but also endearing in an eccentric, truculent kind of way.

As with "The Bridge On The River Kwai", one of the threads running through the story is the clash of cultures, and the interface of British values and imperialism with other peoples. Even though his superiors exuded a certain arrogance, Lawrence's approach is more equivocal, perhaps even manipulative, exploiting the lack of trust which the Arabs held for the British hierarchy. He is his own man, independent-minded, but with his own agenda, and the adulation shown towards him suits his own agenda. He seems to have driven all concerned to distraction at one time or another...

The scene from this film which customarily receives most acclaim is that of Omar Sharif approaching on the horizon on a camel. However, the one which sent a tingle down my spine was the one where Lawrence returns after rescuing a comrade who had become lost in the desert. This was a turning point, after which the Englishman was revered by those under his command. At times, it is easy to forget that Lawrence was employed by the British army, and that this campaign was essentially a theatre of the First World War.

The real "meat" of this movie is the effort of Lawrence to make sense of the factional and tribal rivalries and politics which appear to be impeding unity against the Turks and progress towards freedom and independence. His exasperation is made clear, as he tries to arbitrate as an outsider, or make them see reason.

I liked the way in which the touchy and vexed question of British imperialism was addressed, when the army commanders were asked whether Britain had any designs on Arabia. The awkward and non-committal answers given reflected both the unspoken reality, and their reluctance, as mere soldiers, to become embroiled in political matters.

The introduction of the American journalist Bentley adds a different dimension, but even his romantic illusions are soon confronted by the gruesome realities of war.

The supporting performances are part of the fabric which make this film special. Anthony Quayle is especially impressive as Colonel Brighton, seeking to rationalize Lawrence's unconventional methods. A word too for the atmospheric and evocative music of Maurice Jarre.

The fact that "Lawrence of Arabia" concludes on a somewhat downbeat and inconclusive note only adds to its appeal. War, and its outcome, are rarely straightforward, ideal or edifying.

A magnificent film.