Peter O'Toole's Definitive Role

Rating: 9/10 (19 December 2013)

***** As Peter O'Toole left us less than a week ago, on December 14, 2013, I believe it is necessary for me to state that he should have received Best Actor for his illustrious performance. Quite sadly, O'Toole received eight nominations for Best Actor in his career, but never won. He had many great roles after this, but this one was made for him! *****
In his most significant role, Peter O'Toole is T.E. Lawrence, the ostensibly charming, confident, and flamboyant T. E. Lawrence. At the beginning of the film, we see a naive young Lawrence, arrogant and ostentatious, bordering on pretentious and overbearing. His most prominent personality qualities (proud, charming, determined, focused, loyal, fearless), along with his uniquely extensive knowledge of Middle Eastern culture and geography, lead him to great success in his interactions with the Arabs. But, as with many great individuals, it is also these exact qualities that lead to his eventual downfall.
Stationed in Cairo, he is deployed to Arabia on the counsel of Mr. Dryden from the Arab Bureau (Claude Rains), whom suggests that time in the desert may "make a man out of him."
(This was likely an intimation to Lawrence's flamboyance and his commonly believed but unmentionable (at the time, due to societal beliefs, etc. media did not address gay/lesbian/bisexual themes) homo- erotic feelings and/or homosexuality. Interestingly, this specific detail was indeed an accurate reflection of the real T. E. Lawrence. Biographers and historians have only circumstantial evidence that Lawrence was open to the idea when most everyone else was not; he has also written in personal letters that he had never experienced sex, leading close friends to believe him to be asexual.)
Even early in his Arabian adventures, Lawrence seems to believe himself to be infallible. He is fearless and insists on partaking in nearly impossible endeavors. There are countless allusions and references symbolizing him as a sort of God. Lawrence's experiences in Arabia inevitably reveal the insecurities of the great man. His own worst enemy, he blames himself for anything less than perfection. The first indication of this is after the death of two Arabians he feels responsible for. On his first report back to superiors, Lawrence explicitly expresses his hesitation with the dark side of war. Further explanation reveals that he actually liked killing Gasim. It is evident that this scares him, at least on some level. Unfortunately, General Allenby (Jack Hawkins) & Brighton (Anthony Quayle) dismiss his statements to nervousness.
As the war continues, and as he kills more and more, Lawrence becomes more fearless, more vain, and more audacious. En route to Deraa, he is forced to kill the second of his friend/servants, Ferraj in mercy. This effects Lawrence, but he doesn't let it show ("Salute him for me," he whispers, referring to Daud). In Deraa, it is his own stupidity that causes his capture. Although Serif Ali has tried many times to provide reason, Lawrence decides to "announce himself" in enemy territory.
Lawrence then makes a second try to leave Arabia, pleading with The General to send him home, for personal reasons. "Personal? Are you mad?" he asks. "No," Lawrence answers, "And if you don't mind, I'd rather not go mad. That's my reason too." When asked what it is that he wants, Lawrence says, "I told you. I want my ration of common humanity."
Despite his eloquent words, Lawrence in convinced to return, and his unstable state of mind is betrayed in Peter O'Toole's memorable performance in the bloody encounter at Tafa. Lawrence runs, then staggers, around the field, killing without hesitation, a crazed, delusional look in his eyes, yelling, "No prisoners!" Covered in blood, first utilizing his sword, then his gun (note that none of the Arabians had artillery), he shows no awareness, even when Serif Ali yells, "Enough! Enough! Lawrence, Enough!" In the aftermath, it cannot be denied: The once great Lawrence Of Arabia has become corrupted and hateful.
Nevertheless, they continue on to Damascus and successfully conquer it for The British and Arabs. The Arabs, however, continue their disagreements, foregoing their chance at liberation. Lawrence finally realizes that he will be unable to see the Arabs make peace with each other. He is promoted one last time and send home, an empty, lost look in his eyes. In the last scene, as he is being escorted back to Britain, he observes several Arabs on their camels, dressed in their usual robe attire, as he rides in the passenger seat, fully dressed in his military uniform, a forlorn expression betraying the internal struggle implied throughout the film, his search for identity, what he wants in life, and his unsure allegiance to either his new found friends in the desert or his home country.
Another character study illustrated through wartime decisions. However, unlike others, this worked. Enchanting and compelling story aside, the technical merit in this film was more than impressive, with its creative cinematography, a magnificent score, and accomplished performances. The title track is familiar to most individuals today, even to those whom have yet to see it. A few scenes that were especially commendable in cinematography were: the cut from Lawrence blowing out the match flame to the sun-kissed Arabian desert sky; the mirage entrance of Serif Ali; Lawrence's mystical entrance at The Prince's tent; Lawrence's lone camel skimming the beach at Aqava,against the backdrop of a beautiful, multi- colored sunset; the appearance on an impressive ocean liner in the middle of valleys of desert sand, revealing the deep blue waters of The Suez Canal. But, really, it was filmed on location in Jordan, Morocco, & Spain. All beautiful countries. And the desert? As long as I'm not there suffering, it is beautiful, especially at night.