There's a price to pay for taking actions against your personal beliefs. The responsibilities we take on change our identity and test us as human beings. What one considers a despicable act may someday be a choice they are faced with - and what seemed like a disregard for humanity could reveal itself to be a necessary evil, for the greater good.
In the midst of World War I, we follow Thomas Edward Lawrence, a British officer and archaeologist who's grown tired of his role in Cairo. A liaison and map officer, Lawrence's excitement is hardly contained when he is sent to assess the prospects of Prince Faisal in the revolt against the Turks and starts to build a relationship with the locals.
What works so well is director David Lean's approach to the project. Character development isn't sacrificed for the cinematic qualities that make it so aesthetically pleasing, and vice-versa. Peter O'Toole does most of the heavy lifting as Lawrence, but Lean's blocking and editor Anne V. Coates' pacing energise his performance. The wide shots are like a breath of fresh of air and the close-up medium shots make it personal.
Similar to the transition in 2001: A Space Odyssey, the blowing of a lit match abruptly cutting to the rising sun is one my favourite editing moments ever and the cinematography is so bold and rich it's surprising to remember this was filmed in the 60s. Widely regarded as one of the greatest and most influential films ever made, 'Lawrence of Arabia' looks at an often forgotten part of World War I through the lens of an ordinary man who achieved extraordinary feats. The fact that Lawrence was a real person is probably the only thing more extraordinary.
In the midst of World War I, we follow Thomas Edward Lawrence, a British officer and archaeologist who's grown tired of his role in Cairo. A liaison and map officer, Lawrence's excitement is hardly contained when he is sent to assess the prospects of Prince Faisal in the revolt against the Turks and starts to build a relationship with the locals.
What works so well is director David Lean's approach to the project. Character development isn't sacrificed for the cinematic qualities that make it so aesthetically pleasing, and vice-versa. Peter O'Toole does most of the heavy lifting as Lawrence, but Lean's blocking and editor Anne V. Coates' pacing energise his performance. The wide shots are like a breath of fresh of air and the close-up medium shots make it personal.
Similar to the transition in 2001: A Space Odyssey, the blowing of a lit match abruptly cutting to the rising sun is one my favourite editing moments ever and the cinematography is so bold and rich it's surprising to remember this was filmed in the 60s. Widely regarded as one of the greatest and most influential films ever made, 'Lawrence of Arabia' looks at an often forgotten part of World War I through the lens of an ordinary man who achieved extraordinary feats. The fact that Lawrence was a real person is probably the only thing more extraordinary.
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