A film of truly epic proportions, in length, scenery, and brilliance, Lawrence of Arabia is essential cinema. Peter O’Toole delivers a stellar performance as T.E. Lawrence, a British soldier during World War I. The movie begins with his death from a motorcycle crash, which gives an early glimpse of the character.
Then, a flashback goes to his time in Arabia where his task was to unite the Arab tribes, and lead them in rebellion against the enemy so the British might win. Against the better judgment of his commanding officer, a Mr. Dryden of the Arab Bureau suggests Lawrence be sent to assess the possibility of an Arab revolt against the Turks. Lawrence heads with his guide to pay a visit to Prince Faisal. However, his guide is shot by another man and Lawrence resolves to make the journey alone. Their paths cross again in the camp of Faisal. There Lawrence interests the Prince because his ideas are far different from his commanding officer.
Showcasing his audaciousness Lawrence suggests a bold attack on Acaba which would allow the British to bring in supplies. He leads a group of men across the brutal desert knowing that this will be less expected. Sheriff Ali (Omar Sharif) doubts it will work and disapproves that Lawrence takes two young outcasts as his servants. It is later during the journey that Lawrence truly wins over the other men, including Ali, because he is relentless, even going back for a lost straggler. With some luck, Lawrence is able to gain the help of Auda Abu Tayi, but it is not without tension. Ultimately, his forces are able to take out the Turks, and Lawrence heads back to Cairo to relay his progress. However, on the way back he must struggle with the loss of a servant and the guilt of executing a man.
Lawrence is sent back to Arabia and there he leads his forces in guerrilla operations against the Turkish railroads. His exploits are documented by an American newsman, and by this point, he has become a mythical hero among his followers. However, after going to scout a town the seemingly invincible Lawrence is ultimately flogged and tortured, leaving him a broken shell of a man. He insists on leaving Arabia but his new commander, General Allenby orders him back for one final push towards Damascus.
This final mission sees a change in Lawrence, who has hired killers and missionaries to help him in his siege. Against the better judgment of Sherif Ali, Lawrence leads a massacre of Turks as they move onward. He takes Damascus, but his fragmented counsel of Arabs are unable to unite, and the city is given back to the English. Major Lawrence is promoted once more to Colonel, and then gets shipped home because his services are no longer necessary.
This is one of those films you want to see on the big screen because the scenery and cinematography is just that impressive by itself. David Lean had a skill at making epics, and this is perhaps his masterpiece. The desert is often stark and desolate, and yet striking in the same instance. The expanse of space that is viewed in a single shot is often mind-blowing. A human being on the horizon is hardly a speck, and the ever-present camels are hardly any more substantial. To complement these grand images is an equally magnificent score by Maurice Jarre, complete with overture and all. The cast must be mentioned too with such supporting stars as Omar Sharif, Anthony Quinn, Alec Guinness, Claude Rains, Jack Hawkins, and Anthony Quayle.
Then, of course, there is the man who played Lawrence. As portrayed so wonderfully by Peter O’Toole, Lawrence is an intelligent and, at times, arrogant man, who can be odd, distant, audacious, and also unscrupulous. That being said, he was an extraordinary man who was a mover and a leader of men. A very unique, at times controversial, and long unheralded man, who contributed to the war effort in a far different way. In many ways, he was an adopted brother to the Arabs, and their country was also his. He was “Lawrence of Arabia.”
5/5 Stars
Directed by Ingmar Bergman and adapted from a Swedish ballad, this film revolves around a Christian Medieval family. Their only child is a beautiful, care free girl who they cherish. They sned her off to church with a maid servant. Along the way the two of them must pass through the forest. The girl leaves her servant behind to rest and then she goes on, meeting some herdsman on her way. She shows them hospitality by sharing her food, but the two men brutally rape and kill her. Ironically, that night they seek shelter with the girl’s family unknowingly. By accident the parents discover what became of their daughter and they must then decide what action to take. Bergman’s films certainly bring up questions about morals, religious faith, and evil. None of the characters were perfect but instead human, because they all make mistakes and must ask for God’s forgiveness
This may not be the greatest film of all time, but it is certainly one of the greatest westerns gifted to us so generously by Fred Zinnemann. It tells a very simple story, yet it is, in fact, so powerful simply, because of the hero it depicts. In its time it also served as a condemning allegory of the finger pointing going on in Hollywood.
is a powerful film from the 70s that has such an intriguing conflict between Jack Nicholson and Louise Fletcher. There have been many chilling villains in the annals of cinema, but Nurse Ratched was arguably the coldest and yet understated of them all. She makes this a true battle for supremacy. Nicholson is supported very nicely by the rest of the cast who he helps to rile up.
4 Star Films 