A Desert Myth: Perhaps the Finest Film "Epic"

Rating: 10/10 (29 March 2005)

To understand the Middle East as it presently exists, one must understand World War I and its consequences for those who live in the region. In making such a study, one inevitably and repeatedly encounters the name T.E. Lawrence, then and now one of the most controversial military figures of the 20th Century, a remarkably complex man who combined an unassuming manner with an astonishing flair for self-promotion.
Lawrence authored an account of his Arabian adventures following the war. Titled THE SEVEN PILLARS OF WISDOM, it has the very unusual distinction of being extremely famous before it was widely available: originally printed in a limited edition of 120 copies, it was widely praised, but it was not given a further printing until after Lawrence's death--at which point both those who served with Lawrence and historians alike noted that the work was much less accurate, much less factual than its first readers supposed. Still, between the press coverage and the man's own gift for self-mythology, it was enough. T.E. Lawrence was enshrined in memory as Lawrence of Arabia, and in the late 1950s and early 1960s David Lean set out to make a film about him, using THE SEVEN PILLARS OF WISDOM as primary source.
A great deal has been made of the film's factual inaccuracies; a great deal more has been made of the film's failure to explicitly portray Lawrence's covertly sadomasochistic personality and homo-erotic edge. But LAWRENCE OF ARABIA is not a film of mere fact; we must turn to documentary for that. It is the myth, a vision of Lawrence as he himself wished to be seen, and the covert indications of his hidden nature adds greater depth to both his character and the film as a whole: as the story progresses we become acutely aware that there is much more that we do not know, a fact that lends a tremendous sense of mystery to the film. Factual, no; explicit, no. But in its entirety, LAWRENCE OF ARABIA achieves an artistic truth that transcends any mere notation of fact pure and simple.
It is, in my opinion, the single finest film of epic scope to ever reach the screen. The episodic story, scripted by Robert Bolt (author of A MAN FOR ALL SEASONS), casts a remarkably wide net, not only following Lawrence's adventures but placing them within a finely drawn context of diplomacy as well. The cast is superb. Led by Peter O'Toole in the title role, virtually every actor involved not only brings the various historical figures to vivid life, but transmutes them into archetypes as well. David Lean's direction is flawless, as is the astonishingly beautiful cinematography, artful yet unobtrusive editing, and truly memorable score.
It is true that LAWRENCE OF ARABIA is best seen on the big screen, where its visual power may be seen a full power; even so, it fares remarkably well on the small screen, much more so than epics that rely on visual power to the exclusion of all else. There have been several releases to the home market, including a double cassette VHS and a two disk DVD with a host of extras; the single DVD release, a "no frills" release without significant extras, also offers a near-pristine picture and excellent sound. If you are interested in purchasing the film, make certain that you are not buying a pan-and-scan version, for these very significantly undercut the beauty of the film.
Alternatively languid and violent, beautiful and disquieting, LAWRENCE OF ARABIA is a remarkably fine film that deserves every praise heaped upon it since its 1962 release. I cannot recommend it too highly.
Gary Taylor, aka GFT, Amazon Reviewer