At nearly 4 hours long, there were those in the audience I had sensed were wary of it's run time, having not seen this stalwart of cinema before. I had no such worries, safe in the knowledge that I was about to watch one of the great adventure epics, and of course a performance from Peter O'Toole often lauded as the finest in cinematic history.
What was immediately apparent was the finer resolution of this transfer, the colours more prominent, the background finer and the sound even sharper. This, more than perhaps any other film, was sorely appreciated as that first remarkable cut of Lean's first graced our screen, as O'Toole's Lawrence blows out the match, only for we the audience to be transferred to the majestic sunrise on the Arabian desert.
It was truly invigorating watching these incredible shots in such detail on the big screen. The vast expanse of some of these shots have never looked more remarkable and the now synonymous Lean lens, has again exposed it's full potential on screen, through the advancement of technology. The scene that struck me most, was of course the now infamous Omar Sharif entrance through the mirage. Arguably the most famous scene in film history, this transfer really did do it justice and I can say with utter confidence that it's effect was far more powerful than any time previous I had seen it.
Of course the beauty of this film didn't stop with this scene, and it continued to dazzle as Lawrence advanced through the Nefud desert, launched his assault on Aq'aba and ultimately ascended on Damascus.
It is undoubtedly one of the most accomplished films ever, as it's not just the motion capture aspect of it, that provides it's power, but the performances of it's stars. The first time I had ever seen this film I had read a lot about O'Toole's performance being arguably the greatest ever, and whilst I recognised it as great at the time, I wasn't sure whether it could be considered the greatest ever. It's only been on repeat viewings that the complexities of the character and his interpretation can be discovered and revered. Lawrence is a man destined for greatness, but his own egotistical and at times masochistic demeanour only serve to prevent him from achieving his destiny. He is forever standing on the precipice of martyrdom, and is whispered to of being some type of prophet by his peers. There are also subtleties to his character, that alludes to the darker and mysterious side of Lawrence, certainly in regards to his sexuality, as well as his morality.
Ultimately though he, as well as we the audience, learn that he is merely mortal, and is only flesh and blood. Lawrence's own realisation of this and his inner turmoil is at times tragic, but needed, as his arrogance goes too far as his self importance goes too far. This in my opinion is what makes his performance so remarkable, in that by showing what an 'extraordinary' man Lawrence was, we are always prevented from falling for him. Lean and O'Toole's genius, is in painting a no holds barred portrait of the man as he is and as he was.
It is testament to O'Toole that for a four hour film he never lets up, and Lawrence is forever engaging. The film is also aided by an incredible pool of talent supporting O'Toole. Jack Hawkins, Anthony Quayle, Jose Ferrer, Claude Rains and Alec Guinness all put in superb turns in their respective roles. Ferrer always pointed to his small cameo in this film, as his finest piece of screen acting. It is however Lawrence's Arabic allies in Omar Sharif and Anthony Quinn who provide the finest turns in their respective roles.
Like O'Toole, Sharif was a complete unknown in world cinema, though a star in Egypt. Aided by the already mentioned entrance through a mirage, Sharif lives up to his grand entrance. At first he conflicts with Lawrence, as both parties questions each other's cultures, but like the majority of romantic films, he falls in love with Lawrence. It is a love that is purely platonic, and one built first out of respect and admiration for the man, but eventually he clings on to his love through sympathy and fear for Lawrence. In my opinion, their love is a personification, of Lawrence's own love with the desert. Mostly one way, with the desert causing more harm to Lawrence both psychologically and physical.
Anthony Quinn gives a more hard nosed turn as Auda Abu Tayi, who is portrayed as ultimately a mercenary. It could be argued that Quinn's character is complicit of Lawrence's demise, whereas Sharif's Ali tries to appease him and maintain Lawrence's ideals and ambition. Quinn's character seems to be symbolic of the reason why Lawrence ultimately failed in Arabia, as not only was there too much inner turmoil between the different tribes, but the Arab's had different (as well as more superficial) goals to Lawrence.
It should be added that the main controversy of this film, is it's historical accuracy, with some of the events shown in the film never actually happening, as well as some characters not existing. Ultimately though, I feel that some films should be allowed artistic license, especially if the essence of the story is still being told. Robert Bolt's screenplay seems to justify any inaccuracies, as the story told is exhilarating and immersive; It rightly won the Best Screenplay Oscar that year. The inaccuracies though are one of the few blemishes on this film, and are scant reason to disregard it in any way. One can always read 'Seven Pillars of Wisdom' if they want a first hand account of events.
What is also striking about this film is that it's a 4 hour film without one line of dialogue for women, and considering it's setting and the story it's telling, it's fitting and appropriate. Indeed Lean, had been forced by the studio to insert a love scene for his previous film Bridge Over The River Kwai; which just came across totally gratuitous and unnecessary. It would have been highly ludicrous for a film such as this to insert something that would have come off as desultory.
Finally seeing this on the big screen, was truly awe inspiring, and of course I am now faced with the realisation that I will never see another film on the big screen that will surpass this. I envied those around, who were watching it for the first time, gasping at each twist and turn, and their anguish when the film ended 4 hours later. The restoration only added to the richness, vibrancy and beauty of the desert, as well as O'Toole's baby blues. The only detriment to this restoration, was that the make up was at times more prominent and O'Toole really could have been Florence of Arabia. Whilst this is only number 2 on my list of greatest films ever, it is probably the greatest film ever made, certainly on a technical level.
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