"Nothing is written."

Rating: 10/10 (10 March 2007)

The parched vastness of the desert stretches beyond the horizon in every direction. The glorious morning sun begins to rise from beneath the earth, casting brilliant rays of searing light across the scorched landscape. In the distance, barely noticeable to the human eye, a dark speck appears. We watch, we wait. The tiny approaching figure, ever so gradually, moves tantalisingly closer, and we lean forward to discern it, the enormity of the Arabian desert instantly enveloping us, consuming us. We are there. When a character gazes up at the blazing overhead sun  an immense ball of fire in the sky  we feel it burning our skin, and we, too, yearn for that life-saving swig of water.
David Lean's epic masterpiece, 'Lawrence of Arabia,' is one of those precious few films that is capable of completely absorbing the audience into its world. Just like Stanley Kubrick's sci-fi masterwork '2001: A Space Odyssey' of 1968, the plot of the film is not what we ultimately remember. When asked why it is such a great film, we can only recall the sheer majesty of the images that have been permanently seared into our minds  Lawrence blows out a burning match, which becomes the rising desert sun; a stranded soldier, stumbling across the sands, gazes up in horror as the first rays of morning sunlight beam across the land; a triumphant Lawrence, dressed in flowing white robes, poses at the summit of an enemy trainwreck, the sun glimmering behind him as if he is a god. Minute after minute, for the entire four-hour running time, we are simply bombarded with unforgettable images, thanks to the Freddie Young's acclaimed Super Panavision 70 cinematography, a stirring score from Maurice Jarre and director David Lean's epic cinematic vision.
Lieutenant-Colonel Thomas Edward "T.E." Lawrence (Peter O'Toole) died on May 19, 1935 after a horrific motorcycle accident. He was honoured with a bust in St. Paul's Cathedral for his liaison role during the Arab Revolt of 1916-18, his achievements made famous by the sensationalised newspaper writings of American journalist Lowell Thomas, who is represented in the film by the character of Jackson Bentley (Arthur Kennedy). Lawrence's funeral leaves us with several unanswered questions regarding what sort of man he really was: was he a "poet, a scholar and a mighty warrior," or, as Bentley suggests after the departure of the reporter, "the most shameless exhibitionist since Barnum & Bailey?"
'Lawrence of Arabia,' very loosely based on Lawrence's personal memoirs, shows how, throughout his exploits in Arabia, he was a man trapped between two cultures, torn between his allegiances to Britain and its army, and to his newfound comrades within the Arabian desert tribes, to whom he had promised freedom. He also battles to understand his own emotional reactions towards violence in war, his uncertainty beginning with the shocking satisfaction he experiences upon executing one of his companions. Early in his exploits, Lawrence embodies the qualities present in all great historical heroes: courage and determination, self-assurance and loyalty. Nearing the end of a harrowing march across the impassable Nefud Desert, though ragged from exhaustion and desperate for hydration, Lawrence turns his camel around in search of Gasim, a fellow comrade who was unknowingly left behind after succumbing to sleep and falling off his mount. However, as Lawrence's victories become many, he finds that his humility has been replaced with arrogance, and his bravery with blood-thirsty cowardice.
The acting performances in this film are absolutely stunning all-round. Peter O'Toole ("The Lion in Winter") is undeniably brilliant as T.E. Lawrence, masterfully portraying a complex character in his debut high-profile role. It is perhaps unfortunate that he came up against Gregory Peck's equally memorable role as Atticus Finch in 'To Kill A Mockingbird' at the 1963 Oscars, otherwise he most certainly would have won Best Actor. To this day, despite a total of eight nominations, O'Toole remains without a competitive Oscar, though he did receive an Academy Honorary Award in 2003 for his collective body of work.
A stunning supporting cast complements O'Toole's performance, and the film simply could not have been as powerful if any of the supporting roles were anything less than perfect. Alec Guiness ("The Bridge on the River Kwai")  who had originally wanted the role of Lawrence, but was turned down due to his age  plays Prince Feisal, the Arab leader who learns to value Lawrence's advice and assistance. Anthony Quinn ("Zorba the Greek") portrays Auda ibu Tayi, the leader of the Howeitat tribe of Bedouin Arabs, whom Lawrence convinces to invade the city of Aqaba. Omar Sharif is brilliant as Sheriff Ali, a man who inexplicably becomes Lawrence's most loyal comrade, though he fears what his good friend has become in the face of success. Other notable performances in the film come from Jack Hawkins, Claude Rains, Anthony Quayle, Arthur Kennedy and José Ferrer.
In terms of David Lean's vast artistic vision, 'Lawrence of Arabia' is one of the most ambitious cinematic undertakings of all time. This is truly one of the grandest epics ever made, demanding to be witnessed only in the cinema; put quite simply, a minute television screen just does not do this film justice. This is an life-changing experience like few others, and, for 220 glorious minutes, you can almost see yourself in the desert, sitting atop a camel, trekking across the sands alongside one of the twentieth century's most fascinating historical figures.