LAWRENCE OF ARABIA - Golden Oldies On the Big Screen
LAWRENCE OF ARABIA
For Hicksflicks.com, Friday, Aug. 16, 2019
EDITOR’S NOTE: When people … older people, of course … talk about movies that need to be seen in a theater on a 40-foot screen instead of at home on a TV screen — even a 65-inch screen — the film that sets the standard is ‘Lawrence of Arabia.’ Originally released in 1962, the multiple Oscar-winner was given a meticulous two-year restoration and re-released in theaters in 1989. And now it’s back for two days, courtesy of Fathom Events and Turner Classic Movies, on Sunday, Sept. 1, and Wednesday, Sept. 4, at 6 p.m. in several Cinemark theaters and at 1 and 6 p.m. the Megaplex Jordan Commons theater. My review below was published in the Deseret News on March 17, 1989. (And, of course, the Regency Theater mentioned at the end has long been absent from the Salt Lake movie landscape.)
Despite powerful performances in films that post-date "Lawrence of Arabia" — such as "Becket," "The Lion in Winter," "The Ruling Class," "The Stunt Man," "My Favorite Year" and "The Last Emperor" — Peter O'Toole is seldom named in the company of great actors.
Yet his "Lawrence" remains truly great acting, and what he does with his face and body as we see the gradual evolution of T.E. Lawrence in the course of this nearly four-hour film, is nothing short of amazing.
When David Lean picked the unknown actor, with only three minor film roles to his credit at the time, to be his "Lawrence," he knew what he was doing. There are lingering moments here when we see O'Toole's sun-bleached blond hair and striking blue eyes against the bright blue sky or expansive yellow desert, and his expression says more than reams of dialogue could ever approach.
Peter O'Toole, left, Anthony Quinn, 'Lawrence of Arabia'
In fact, though I've seen this film's truncated version a couple of times since 1962, I had forgotten just how little dialogue there is, and how deeply textured the film becomes as it progresses. The desert is a prominent character here, and it changes and shapes T.E. Lawrence as much as the horrors of war that he endures.
If ever there was a movie worthy of restoration and reissuing it is "Lawrence of Arabia," which too often is catalogued under "epic" film and simply aligned with every other big-budget, cast-of-thousands movie ever made.
But "Lawrence" is much more, with a strong central character who undergoes stark changes over the course of several years as a British military officer, initially assigned to size up Prince Feisel (Alec Guinness) during the 1914 campaign against the Turks in Arabia. Despite his fair skin and English uppercrust demeanor, Lawrence idealizes the Arab people and tries to become one of them, ultimately heading for his downfall when he begins to think of himself as something more than a man.
It is a complex performance complemented by Lean's superlative direction, which is indeed epic in scope, but which never allows that scope to overwhelm the story or characters. It is a film with action and adventure, yet it defies those genre types.
Lean isn't afraid to let his camera rest on images that fill the 70mm screen and allow the audience to work a bit at picking out the importance of them. And, as a friend put it, you'll find yourself leaning forward in your seat and looking across the screen, almost as if you yourself were in the desert instead of a movie theater.
O'Toole is also complemented by a terrific supporting ensemble, with Omar Sharif, Alec Guinness and Anthony Quinn all in rare form, as are Anthony Quayle, Jack Hawkins, Arthur Kennedy and Claude Rains.
Don't wait for this one to hit video in its newly restored, richly enhanced form. And don't wait for it to go into second-run theaters. See it in 70mm and Dolby Stereo at the Regency Theater and you will be amazed at what movies are capable of being.