lamtruongtho Great acting of Pete O'Toole; Omar Sharif, great directing of David Lean and great soundtrack of Maurice Jarrie

Anshul Agrawal When you remember Lawrence of Arabia, it is less about the dialogue, the characters, the cinematography or the toll of war on a man, although individually taken, any of them could be a sufficient conversation in itself. When you remember Lawrence of Arabia, you remember the experience, as all the different things I mentioned above come together to make a brilliant movie.Nearly a 4 hour long movie, this is one of those few films you could watch again and again and again and still be dwarfed by the vastness of its vision.

Info-80-972633 I can't really add anything more to the postive comments already made here. I saw it on TV as a child then the restored version at the cinema. I would ask you ignore one or two people who have bemoaned the lack of a 'happy' or 'clear' ending. Sitting for 3.5 hours and missing the point completely must be frustrating. The last scene, as Lawrence is driven away, his dreams of helping to form an arab state in ruins - passing arabs on camels and with a motor bike overtaking him is a moment of regret and a hint of further doom like no other. The psycological depth of the film has few parallels and having read Seven Pillars of Wisdom it certainly reflects Lawrence's psyché well. In terms of script and cinematography there is a short analysis by Sam Yates of one scene on You Tube that brilliantly shows the genius of Lean and why almost 60 years after it was made the film is still utterly mesmeric. I am watching it again this week with my 18 year old son who is joining the military. As a guide to politics, power, individuality and regret it has no equal.

cinemajesty Film Review: "Lawrence of Arabia" (1962)This 215-Minute-Epic divided into two parts with classic overture by Academy-Award-winning score composer Maurice Jarre (1924-2009) and an Intermission after 135 Minutes establishing the dramatized biopic-story of real-life character T.E. Lawrence (1888-1935), who raises from a simple foot-soldier corporal in dusty little basements to Colonel of "The British Army", portrayed by an high-tense internal-conflicts of identity performing as shaping actor Peter O'Toole (1932-2013), introduced by director David Lean (1908-1991) and producer Sam Spiegel (1901-1985), both at this point in their careers already honored with an Academy-Award for Spiegel producing "On The Waterfront" (1954) starring Marlon Brando and Lean directing the also magnificent "The Bridge On The River Kwai" (1957) starring Alec Guinness (1914-2000), who portrays here another memorable part for David Lean in "Lawrence of Arabia" as modernism-indulging Arabian Prince Feisal with heavy but believable make-up effects and vocal diversions, when supporting character Feisal sets inner motions into action by speaking directly onto bird-free character of 28-year-old Lawrence in times of "The Great War" aka World War I (1914-1918) as the fate of a uncompromising raw man takes its turns by leading sections of Prince Feisal only horse-and-sword trained army into battles of guerilla warfare in the desert regions of now all-splintered Syria, where merciless killings are not as seldom in width as depths of extraordinary on-location cinematography by F.A. Young (1902-1998), also known for shooting "007: You Only Live Twice" (1967) for director Lewis Gilbert, when further the relentless in-sucking CinemaScope framing, especially in horizon to mirage in-camera effects to favor the throughout intense as playful performances by Omar Sharif as Ali and Anthony Quinn as scene-towering character of Auda Abu Tayi."Lawrence of Arabia" takes its hypnosis on any spectre, who brings patience and will to comprehend the story-driven metamorphosis of Peter O'Toole becoming T.E. Lawrence; a character manifested into strong personal believes of pushing efforts to the extreme in crossing never-been undertaking endeavors of conquering coast city Aqaba in minimized editorial shot-rates by editor Anne V. Coates, who gives the picture utmost of elegance in plenty of desert action scenes of bombing Turkish-army-conducted trains from their railing, massive crowd of extras in rifle, pistol, knife combats and up, close and personal character confrontations, in another superior-suspense-scene in a besieged city of Medina, where Lawrence must endure references in physical torture and for the period of time daring winks of unresolved homosexuality in an show-stopping portrayal of actor José Ferrer (1912-1992) as Turkish Bey, remarking of being surrounded by orders-taking cattle, while leaned-back as professional puppet masters actor Jack Hawkins as campaign-leading General Allenby and reptile-lingering politics-representing business man Mr. Dryden, performed with charms and inverted hostility alike actor Claude Rains (1889-1967); when director David Lean concludes every scene with perfection by interweaving them into the next, as legendary PRE-"2001: A Space Odyssey" (1968) straight jump cut from an extinguishing match to a desert sunrise, when I can only wish you the best possible exhibition format for a day-taking blast of motion picture extravaganza from every film-making department involved in this Native English major scale production of slowly high-stakes building main character favoring story-line, exclusively in continuous world-wide distributing Hollywood studio Columbia Pictures, now affiliate of The Sony Company, too even more critical acclaim nowadays, justifying the 10 Academy-Award nominations and 7 wins at the Oscars ceremony in its 36th edition of year 1963, including Best Picture, Best Director and Best Music Score. © 2018 Felix Alexander Dausend (Cinemajesty Entertainments LLC)