That Mosaic shows Phaeton being stricken down by Zeus whilst he lost control over his father’s Sun-Chariot. He got too close to earth and so, according to Greek mythology, created the desert.
T.E.Lawrence wrote in his book the Seven Pillars of Wisdom that ''All men dream: but not equally. Those who dream by night in the dusty recesses of their minds wake up in the day to find it was vanity, but the dreamers of the day are dangerous men, for they may act their dreams with open eyes, to make it possible.”
A book initially intended as a travel guide about type cities of the East: Cairo, Smyrna, Constantinople, Beirut, Aleppo, Damascus, and Medina. An echo of British art critic John Ruskin's "Seven Lamps of Architecture" first published in 1849, on the demands that good architecture must meet.
Read his other book Revolt in the Desert, if you can find it I own first edition copies of both books...they aren't the only books about Lawrence I own, anything in print, I own, and read
Was awed by the image when I was 5; by the story when I was 20; and then by the history when I was 35. I rewatch this film over and over throughout my entire life !
@@adamhauskins6407 when I was 13 I had no idea how banking worked or what a bank run was. I just liked that everyone was happy at the end. When I was 18 I felt like George. Full of P & V and no where to go. At 25 I still felt like George. Like I was missing out on some big adventure. Didn’t see or comprehend what I had at the time. Around 30 I understood banking since I worked at a bank. What George had to do to keep the bank running and how supplying people with homes was a noble goal. 35 now and I empathize with Peter Bailey. He sees Potter and what he stands for as an inevitable wave that is coming and Peter is just trying to make a difference even though he could have sold out long ago. I also understand the frustrations of being a husband, father, and breadwinner. There’s more than a few times I wanted to kick over the model bridge like George did. I decided to rewatch the movie today after your comment. It’s my day off and I needed to clean the house anyway so it’s playing in the background. “Why don’t you kiss her instead of talking her to death?! Youth is wasted on the wrong people!” 35 year old me appreciates that line because I’m on the tail end of my “youth”. Don’t want to waste it.
@@adamhauskins6407 I’m a firm moderate in my political beliefs. On the one hand I agree with Potter’s no nonsense approach to business. On the other I adore Peter’s desire to provide affordable housing. And after working at a bank for 5 years I have seen the spectrum of poor to wealthy. I’ve seen some of the choices, work ethic, and opportunities that allow people to be wealthy and I’ve seen unfortunate circumstances and poor choices that drive them into the poverty. This line hits home this particular viewing: “Just remember this, Mr. Potter, that this rabble you're talking about, they do most of the working and paying and living and dying in this community. Well, is it too much to have them work and pay and live and die in a couple of decent rooms and a bath? Anyway, my father didn't think so.”
Excellent review thank you. I feel you may have overlooked the significance of the movie as a piece of cinematography when it was released. David Lean ( Director) deployed the aspect of vast expanses of nothingness to a profound level. Although a lot of the U.K. audiences at the time had experienced similar regions during WW2, it was a depicted as a void of surreal proportions. Dangerous to the homely western european and a place where transformation to wildness and savagery feels impending. Thanks again for a great review; I can’t imagine another movie where another series of extended and extreme long shots of a figure emerging from a shimmer of heat haze could out do this movie.
A lightning in a bottle film. A masterclass of visual storytelling. You could edit out all the dialogue and still basically understand the crux of what’s happening. The desert never looked so beautiful than thru the eyes of David Lean and Fred Young.
It really is one of the few five star masterpieces in the history of film. Everything is on point. No weaknesses at all. David Lean and company really did themselves proud here. The directing, acting, cinematography, screenplay, production design, editing, locations and wardrobe were all first rate. It’s too bad films of this quality are so seldom produced, but that scarcity makes these cinematic gems all the more valuable.
Lawrence of Arabia is a beautiful film, and David Lean and Fred Young did a marvellous job - more a work of art than a "job" really. But I think the idea that the desert never looked so beautiful than through their eyes is a bit steep. Nomadic tribes, generations upon generations of them, and THEIR eyes, their artistic sensibilities? Perhaps it's just a matter of the mot juste - through Lean and Young's CAMERA lenses maybe.
One thing I noticed is Lawrence and Sarif Ali are connected and mirrored in the story. At the well Lawrence shows compassion for the dead while Ali shows indifference and contempt but at the shelling of the Turk’s, it is Ali is who shows compassion and Lawrence who shows in difference and contempt. It is that point that the trade places. In the end Lawrence is lost to the desert While Ali transcends the Desert. It is Ali’s humbleness and restraint that saves him while it is Lawrences Hubris that destroys him.
Thank you very much for this realistic psychological insight. It seems to me that this is exactly the crucial point: The Arabs and their leaders, here it is King Faisal, are very religious people and therefore really humble in the true sense of humbleness: „There is no God than the ALLMIGHTY GOD.“ Lawrence, on the contrary, had a more or less narcissitic personality disorder . His hybris dropped him down. So he became irrelevant in the end.
You can also express it in other words: Lawrence was a DOUBLE AGENT. He fought for both: The British Empire and The Arabs - against The Ottoman Empire. It is necessary to mention here, that under the rule of the Ottoman Empire there had been peace in Palestine for 400 Years untill the Big Naqba 1948! Lawrence as a British solider wanted the British to defeat the Turks. On the other side his somehow „schizophrenic“ mind and heart were fascinated by the sincerity and righteousness of the Arabs, whom he therefore „loved“. He put his „love“ into work according to his own somehow grotesk/macabre way.
@@juliaprunte9898 ya, like there was "peace" under any empire - that's a meaningless statement. Of course an empire rules itself, so if the entire middle east is ruled by a single empire obviously it won't be "at war". war happens between different independent entities. this is part of the reason Iran is trying to take over the middle east (via lebanon, syria, yemen, iraq, etc.) sending its "revolutionary guard" to make all these arab entities crumble from within.
Lawrence of Arabia, 2001 A Space Odyssey, The Dollars Trillogy, Dr Strangelove, Once Upon a Time in the West, Psycho, Spartacus, The Longest Day, The Dirty Dozen and others. The 60s was the golden age of Cinematic History.
The Dollars trilogy Hollywood? Some others you mention were part British. The 60s was a golden age for world cinema and development of various national cinemas, not so much Hollywood, i.m.o
Great analysis. The Suez moment pops off of the screen. A man on a motorcycle crying out loud the existential question formed by desert life and the inner desert of self, "who are you?" Its a brilliant moment built up by Lean and the silence of Lawrence is the devestating answer. After the desert has up ended his idealism, he is no longer certain of what he believes or who he is. He can only hear the question but cannot respond. He is at a crossroads where the modern marvel of the Suez crosses the ancient truth of the desert. What a mind blowing scene.
@@jemperdiller I agree with you, but if that's how they see themselves then they will present themselves that way, the most convincing propaganda is spread by those who actually belive it I think
Ive come to appreciate this movie after watching it again and again as the best film ever made. No CGI, shot on location, great story, director, actors. A work of art.
Totally agree. My favorite movie of all times. First saw it as a young teenager at the local cinema and still watch it regularly on my laptop, now in retirement. 🙏
I always thought T.E. Lawrence was a bit of a tragic figure, wrestling with deep insecurities and trying to prove himself too hard, ending up as a wandering soul with even more doubt ind possibly remorse. This analysis sheds a whole new light on the man, at least for me. Thank you kindly.
As a boy, Lawrence used to dream of knights in armour and imagine himself as them. This critique captures this, and the inevitable, final, Greek-tragedy-like disillusionment. We are not heroic knights; they never existed outside of stories.
Most heroes are not stoic clear men of certainty! They are full of doubt , rage, courage and every other human emotions. Then ones that don’t are often psychopaths
Modern viewers look at O'Tooles performance and say, "Thats a little over the top." However, taking into account the director and the subject matter I can't say there was any better way to do it. Peter O'Toole is a entire class of acting unto himself.
This was truly brilliant. Moving analysis. I think the element of grandiosity and extreme Narcissism that was the shadow of Lawrence's genius as caught in the film, does not even begin to qualify the mania that possessed him- both visionary and self-destructive- maybe even subconsciously the heroic need he played out, was far more imperialistic than he could have seen. This is one of the greatest movies we will ever see. You captured the journey, and the arc of transformation here brilliantly. There is something of Hamlet in Lawrence. And Arabia his Parents. How powerful is O'Toole's ability to channel the crestfallen Lawrence, unable to live in the contradictions his journey laid bare. Thank you again for this amazing work you present here.
@@EmpireoftheMind there really is it's one of the richest films ever made- focus on Lawrence's arc of transformation was very wise. My pleasure you are doing great work!
Its difficult to get any sense of what the real Lawrence was. The Lawrence of Arabia that the world knows is largely the creation of American journalist Lowell Thomas. The man in many respects became the image that Thomas created through his writing.
What is exquisite about the concept underlying the film is that Lawrence THINKS he is a total rebel against British colonial values--while ending up as the ultimate agent and manifestation of them. Know thyself and thy ideology, libertarian types.
The final scene: As Lawrence passes by his previous source of obsession (the Bedouins and Arabs) the obsession that killed him from inside, he soon passes by his new source of obsession ( the motorcycles) the one that will eventually kill him from outside.
For over 40 years, I have read everything that I could find on Lawrence. To say that he fascinates me is an understatement. I commend you on your very serious and astute analysis of this extraordinary film. Truly "spot on"! Well done. Well done.
Finally. Someone talking about the central theme of the movie. The first movie poster literally had a question mark in place of Lawrence's face, so amazing when I've seen some critics say, "But we never find out who he really is"! Er, that's the point of the film! BTW, seen this movie about 20 times, but never thought about the significance of The Man Who Broke the Bank at Monte Carlo or the Roman busts! Never stop seeing new stuff in this movie.
Lawrence did not capture Damascus, as the film shows. He was under arrest at the time, for being out of uniform. Detachments of the Australian Light Horse captured the city.
According to the ultimate source on the Arab Revolt in English - The Arab Awakening - several bands of Arab cavalry reached the southern gates of Damascus about dusk on October 30 even as the last of the Turkish forces were fleeing the northern gates.The Aussies did not arrive until next morning.
Silly. The historical inaccuracies of a great psychological study like this are perfectly irrelevant. You don't watch this movie to learn history, especially as it is based on Lawrence's own memoir - a movingly and beautifully written document which tells only a very different kind of truth to a military history.
I watched Lawrence of Arabia when I was about 10 to 11 years old. I do not remember precisely whether I loved it or whether I thought it was boring, but a positive fascination for the figure and the triumphant nature of the film has always remained since then. I'm now 19, and I've watched many more films since then, and there is of course much left to watch. Thank you for this wonderful analysis - I remember being a bit disturbed by the second half of the film when I was young, haha. I think I'd consider this one among my favourite films, for the impact it's left, even after nearly a decade. I need to see it again, I hope I won't be let down.
This movie is truly something else. It's not just a deep psychological character study, or a great war epic. It's not just one of the greatest movies of all-time with terrific characters, cinematography, direction, and score. It's not even all of these things combined. Honestly, I can't even describe what it is. I just don't know. Nothing really does it justice.
The desert had changed him, it sucked him in and made him think he was something he was not, like the desert showing you illusion of a oasis he showed Lawrence a illusion of his grandeur.
He was equally buggered by the brits on his return, symbolised by reopening his wounds. And probably to more shattering effect than "the defilement" as he put it.
Magnificent analysis of one of my all-time favorite movies. One additional point that could have been noted was the conversation between Ali and Lawrence where Ali notes that Lawrence will be "a prince" when his father dies, and Lawrence replies that "He didn't marry my mother." This highlights how outside British society Lawrence has and will be, in a most basic way and, as Ali notes, that by being outside Lawrence can indeed make himself a clan of his own, which, however, in the end is not completely successful either. I love this movie, and watch it again and again, as well as reading other literature on Lawrence and Lawrence's own writings.
An excellent analysis of Lawrence's persosna. Lawrencec of Arabia is my favourite film. Spielberg got it write when he said this was a 'miracle of a movie'. It is an 'art-house' film that happens to be hugely entertaining and was also a massive box-office success. Which is why some snobbish French critics hated it. Andrew Sarris said that the film intimidated him. He diidn't mean that as a compliment but it is. Lawrence is the 'Mona Lisa' of the movie industry. Artistic perfection. My only problem with the film is that after watching it I cannot see another film for several days because nearly every film feels dissapointing in comparison. Arguably the best written and edited film of all time.
To OP: I am so proud of your work here. I want to shake your hand. Thank you for your efforts. I didn't think anybody else in our generation would appreciate this film beyond its veneer (and it's a beautiful veneer). I've only felt and spoken on this. You've taken the effort to communicate it through this format. Well done.
Lawrence of Arabia is also one of my top 5 movies of all time but your breakdown was absolutely incredible expressing ideas I had of Lawrence’s breakdown but never actually put into words how it went, simply fantastic work!
It feels great to finally see a video, let alone one of THIS HIGH QUALITY, about my favorite movie of all time. Thank you so much for this, you’re such a great content creator and seeing this stuff just... EUGH it’s great
Most movies are dull, and some are truly great. But some films, maybe only a handful of those ever made, soar high above the rest. Flawless. Ideal. Godlike. Lawrence of Arabia is one of those films. One of the best parts of it to me is the evolving relationship and rivalry between Lawrence and Sherif Ali. Starting out with hatred and distaste, becoming unwilling partners, then to being each other’s most trusted ally. By the end of the film, they are closer than brothers. Sherif is almost in tears when the other leaves him. He has become soft. Considerate. Lofty, even, in his thinking. He believes in changing things through ideals and now wants to be a politician. Lawrence by that point is disgusted by the change he’s caused in his friend. The journey through the Nefud deserves more attention, as it highlights this relationship and also is a counterpoint the notion that Lawrence is invincible in the first half of the film. He actually struggles in the journey, and almost falls asleep and falls off his camel (as Gasim would eventually do) VERY early in the trip. It is only the constant attention and prodding by Sherif (who sees the narcoleptic episode and judges him harshly for it), that keeps him going. Every time he has a moment of struggle or doubt, Sherif’s hungry, immovable eyes are fixed on him. Proving his Ideals to Sherif makes them more true than they ever were before. And it is the same for Sherif. He is desperate to see Lawrence fail. Why? Because if Lawrence is right and the miracle is possible, then it was always possible before, only none of the Arabs had the mind for it. Also, Lawrence had already dismissed Sherif and his way of life before the journey. If the Englishman fails, then he was wrong, and he was the one who was being unrealistic, and he will pay for his hubris. But if he succeeds, then that destroys Sherif’s identity and lifestyle, and he has to live in a new world. In this way the two keep each other going. Lawrence WASN’T actually as capable as he thought, but he makes himself capable because he can’t bear to see his failure in Sherif’s eyes. This is a prefigurement of Lawrence identity being determined by his image, that was always an aspect of who he was. Lawrence wins the contest, and his actions profoundly impact Sherif Ali who is changed forever. It is because of this that Ali becomes the person most able to appreciate how broken Lawrence is after he abandons his ideals. He is converted to this courageous idealism just in time to watch his new idol be destroyed by the obligations and airs those ideals impose. It’s one of the central mechanisms that makes this film’s tragedy work. Thanks for the video, best wishes.
David Lean, the director, actually made it clear in an interview that Lawrence and Ali fell in love during the events of the film - the script was written with that interpretation and O’Toole and Sharif were directed to play their relationship in that way - which adds a whole other layer to the tragedy of the film’s story.
This was excellent to watch. Terrific breakdown and analysis. I LOVE “Lawrence of Arabia” and every December when it plays at the Egyptian Theater in Los Angeles, I bring a friend who has never seen it so their first experience watching is as David Lean intended. When the young Turk shot Lawrence in the arm and he falls off the train, Lawrence says, “good, good, good”, almost as if he was proud to finally get that great battle scar he has never received and further elevate himself in the eyes of his Arab followers. With each bullet miss from the young Turk, Lawrence stands his ground. No ducking or hiding, but almost daring a bullet to kill him. Only a “golden bullet” can kill him he proclaims later. His belief he truly is an unkillable Prophet who can walk on water is further enhanced in his eyes. The journey of Lawrence’s pistol, with the round metal piece on the handle, is often overlooked. An “innocent” Lawrence gives it away freely to Tafas, who is then killed by Ali who takes it as his own. The pistol has had many owners. Lawrence’s first journey into his mind descent is when he uses the same gun to kill Gasim. He throws it away. Yet it finds it’s way back to him and is used during the slaughter of the Turks. (No prisoners!) Eventually seen for the last time at the very end of the film when he uses that same gun with the metal round piece at the end as a gavel asking for the raging Arabs to cease their bickering. Can it be proven it is the same exact gun from the film’s beginning to the end? No, it can’t. I’d like to think that Lawrence’s character journey and arc and that of the pistol were the same and the two no matter how many previous owners or character arcs were the same.
You're lucky to be able to see this masterpiece of the cinema the only way it's meant to be seen: on a BIG SCREEN. Maybe I'll travel there some December to watch it myself.
I've always felt it would be interesting to see a short follow-up story about his time as an Aircrewman working on seaplanes in the early 30s. Its a little known fact that "Airman Shaw" invented a superior form of motor launch used in rescuing downed pilots out at sea, an invention that went on to save hundreds of lives in WW2. A redemptive post-script, perhaps, that complicates Lawrence's already mythic life.
I "love" that the journalist IS in fact "taking his virtue", picture by picture until there is none left in the last photo of him. Such rich symbolism everywhere
Camera means "a chamber", and is a room, a space of the sort the privilege of which nomads, the sons of the road, are "not worthy". The desert space pulls at Lawrence and alters his form; his soul expands into that vast desert space and then the equally voracious space that is the Camera steals Lawrence's soul. The Camera is also the camera of David Lean and of Freddie Young, the makers of a drama, not of a history. Cinema's most heroic creators warn us they descend the same road as Lawrence. The world they enter, the world as-it-is, grinds them, overcomes them, and desiccates them. The world will never be what they wanted, will never overlap their vision. It will never stand as their ideal. In their act of entry, they stain what they embrace. Like Lawrence, they cannot leave it pure. They are vandals. They defile what they film and leave it strewn behind them. A man can be at home, can be defined well, only in chambers as small as the scale of his body, never in the vastness of his thought. And without definition, homeless, he blows apart. .
This is a brilliant and elegant analysis of Lawrence, both the film and the man. Both are so often misunderstood, people tend to see what they want to see, but he was a far more complicated man than they recognise.
Thanks for the video, thoughtful insights which will have me look at the film again. Lawrence's rise & fall one of the greats depicted and Peter O'Toole was just marvellous. Never made the connection with the closing motorcycle scene so thanks for bringing that up, so subtle. David Lean......just remarkable depth. Best wishes from Ireland 🇮🇪
Excellent thought provoking analysis. Something else to add: Lawrance is asked "who are you" on both sides of the film arc. First by Prince Faisal (when Lawrance arrives at his camp,) and second by the man on the motorcycle.
My father took me to se this film when I was 12 years old and even though I didn’t quite understand it I knew that what I just observed was better than anything I ever saw . Those desert scenes are unbelievable and so is the acting .
I am absolutely certain that if you continue making brilliant movie analysis videos like this one, your channel is bound to explode one day. The production value of this video is incredible and I wish you the best of luck with your channel and content. Subscribed.
Thanks for your analysis! By coincidence, I watched this movie again just the other day, and you helped articulate my thoughts and expand upon them. I think it's interesting how the terms used to describe him are so varied and often contradictory in the same scene; barmy, clown, half witted, bad mannered, fat, mad, ordinary, extraordinary. In terms of storytelling, it illustrates these descriptions so economically and vividly - as you say with the matches. The visuals, themes and dialogue are so expertly balanced - never on the nose, and never too vague. Another thing I noticed was the way 'young men' and 'old men' are portrayed. When first meeting Prince Faisal, the attitude is, "He's a young man, and young men are passionate" and "before the gardens comes the fighting". Lawrence's idealism is seen as the way forward, a breath of fresh air. And at the end, "Young men make war. Old men make peace. The vices of old men are mistrust and caution. It must be so." It seems to be saying that idealism is needed to shatter the world and move forward, but ultimately caution has to pick up the pieces - without necessarily saying which is right or wrong, or perhaps even saying there is no other way. I wonder if we are to presume that Faisal, Dryden & Allenby see all this coming a mile away - the pragmatism and cynicism of the old man, in the face of Lawrence's spiral into delusion. It's kind of heart breaking when Faisal calls Lawrence "Major" and a good liar. We might say, there was a time and place for Lawrence (in the movie's account) where he served his purpose, both to those in power and those at his side, whom he inspired and united, but ultimately that could only ever be a temporary purpose.
Fantastic point about old men vs. young men. It is also heartbreaking when Faisal says that they are all glad to be rid of Lawrence. One of the most depressing endings to any movie.
It just struck me that the parallels between LoA and “Patton” seem so numerous as to defy mere coincidence. Each film is a psychological character study in the guise of an action movie. Each protagonist sees himself as larger-than-life, extraordinary, destined to greatness. Each man confesses that they have come to enjoy the butcher’s business they have undertaken. Each man, brilliant at warfare, finds the political waters that come after to be beyond the scope of their talents. Just as the relationship between Lawrence and Ali is inverted over the course of the story, so also is Patton’s with his subordinate/superior Bradley. Each man dies at the hands of a conveyance, rather than any enemy they faced. Surely there are others I have missed. It’s clear to me that Schaffner and Coppola were strongly influenced by Lean’s epic work.
It is quite strange to see the rise and fall of this man when I know that such events made my part of the world what it is today. However, there is always one thing I could understand quite easily. The desert takes many things. That's why most of us prefer the Nile.
Egyptians and Bedouins are totally different cultures with different mindsets. Frankly, the Egyptians did better historically. At least, until the discovery of oil.
@@robertohoraciovines5416 The plot of the movie was centered around north western arabia, a land which didn't have oil and still don't, the talk of oil in eastern Arabia however present it had nothing to do with the revolt, the main goal of the British alliance with the arabs was to kick the ottomans out of the land and stop the forced recruitment of the native population, yes oil played a large part in the latter part of the revolt and the proceeding negotiations, which the movie didn't didn't cover. Reducing Arabia to a desert with oil is wrong. My first point still stands.
Terrific analysis of one of my fave films… saw this many years ago at college, the person who ran the college media room was ex british army and had been stationed in the middle east. He recounted how the remnants of the rail and trains Lawrence blew up are still to be found in the desert…
Excellent commentary. I watched the film last night. I noticed something I had never noticed before. When Lawrence was writing the cheque to Auda Abu Tayi ( Quinn) in Acaba, he wrote from right to left- the way arabic is written. Lean demonstrated absolute perfection in attention to detail!
I saw this movie at a young age but for a child to watch such a long movie is not common. I just found this movie to be so appealing it captured the aesthetic of the desert, the colour and contours were so enthralling, beautiful and so well filmed. There is something very special about the filming of this movie and it more than made up for the shorter action scenes a kid may expect from a war movie. I appreciate this movie for partially revealing the lesser known theatre of war in Mesopotamia during WW1. A forgotten front.
Great video. I've loved this movie for decades, and have watched it at least a dozen times, but you pointed out number of things I hadn't noticed before. Now I can't wait to go watch it again. Thanks.
I always believed that the scene of the English soldier on the motorcycle on the edge of the Suiez Canal yelling "Who are you?" was an existential mirror image of Lawrence himself asking the robed, desert wanderer with a young ward (a "Prophet" image to be sure) to make a decision regarding his true self.
I was so glad when i recently discovered this true gem of a film among all the BS on netflix. Of course i gave it a rewatch right then and there. Lovely analysis by the way, well done.
Your love for this film is palpable throughout this video. I've been watching your channel all weekend and it is outstanding. I'm glad that this type of content is present in UA-cam and look forward to your next video.
This is the greatest movie, ever. I have always seen the desert scenes as imposing, abd and beautiful at the same time. Now that I've seen this, I can see the paradox of the desert and how it develops inside Lawrence.
Thank you for making this, I found it really informative. A few days ago I visited Lawrences house in Clouds Hill and have since watched the film and am now going to fetch his book 7 Pillars. Fascinating person
I have heard other analyses of this film but I have never heard such a different and yet incredible analysis like yours. Well done! Please do more film analyses, the cinephile community needs videos like these! Thank you!
Perhaps it's the extent to which one is engrossed and enthralled upon their first viewing that seals a movie in their mind as the greatest movie of all time. I saw Lawrence of Arabia on my little black and white TV when I was a teenager. The commercials (lasted only 90 seconds in those days), the tiny screen, and the uncomfortable chair of my poor home, did nothing to diminish its impact on me. I spoke of it as an experience that made the edges of the screen 'disappear'. Because of my experience then - and afterward at the cinema, I simply cannot say otherwise than that Lawrence of Arabia is the greatest movie ever made.
Agree completely. Compelling. Beautiful. Deep dark characterisation. Magnificent acting from every single person. An unforgettable film - it moves me every time I see it, Or even see parts of it and it has never dated.
Your analysis completely expanded & enormously enriched my understanding of both Lawrence & the genius of this film. One thing it took me many years to get my head around was how the beautiful Peter O'Toole, 6'2" & twitchy as a cat, was cast in the lead. But O'Toole is exactly how Lawrence saw himself! A gorgeous, golden god. It added another dimension to a movie I saw & was seriously affected by the year it came out. I was 18. Thank you for your work.
Ah, yes, one always needs to see the irony of a character's perspective as part of the film. Like taking Amadeus to be historically accurate instead of realizing it's through the eyes of a jealous madman.
Yes !!! I agree with you. I have read many books about TEL, and is the BEST book written about TEL. Mike Yriart From San Andres Great Buenos Aires Argentina
New subscriber, loved this analysis. I always found the ending haunting. A man who loved life, the desert and freedom. But by the end, was a broken man who never was the same.
What timing for your incredible video essay to come out! I purchased the blu-ray boxed set 9 years ago and JUST WATCHED IT a few nights ago. I have no idea why it took me so long, but I’m happy your essay uploaded the same year I finally got around to digesting it. The philosophical themes went deeper than I expected, and I loved it so much I purchased a digital copy on iTunes of the new Dolby Vision 4k/ Dolby Atmos restored version (which is much more vibrant) to watch on our oled. I went to college years ago for my AA in philosophy and this was like the best of my old philosophy club discussions. Our school actually had both the film club, and philosophy club team up several times for screenings of our favorite films at the local library followed by some pretty intense Q&A much like you presented here and I just have commend you on so beautiful a tribute. It is truly timeless. 🙏
I don't know if you will every be able to find a copy, but many years ago when I worked at the Australian Disney Animation Studio (now gone) we were shown a video of a guest lecture Brad Bird had given at the California Studio where he spoke at length about the quality of the symbolism in Lawrence of Arabia. It was brilliant and the first time my eyes were opened to the significance of the film.
TV used to be a vast waste land.......UA-cam and it's Jewels like this channel enormously make up for the years wasted in TV land. This is one of the BEST content channels I have seen so far. I can't wait to delve into its many episodes. Each one like nectar for the creative mind.
Phaethon, the bastard son of Helios wanted to show he was his son, by driving the Helios' chariot across the sky as his father would. Despite Helios saying no, Phaethon was adamant. And Helios relented. Phaethon lost control in an instant, with the horses failing to recognize a driver, and the chariot began to scorch the world. Zeus struck the chariot with a bolt and Phaethon fell to his death. Makes a lot of sense for Lawrence.
What a brilliant analysis. Stories like this & The English Patient have fascinated me for a while, & I enjoy other perspectives on them. So glad I stumbled across your channel.
Absolutely fantastic analysis. That the film is a psychological masterpiece is totally correct. That's my favorite part of it; it's what made me latch onto the film and consider it my all-time favorite.
Just discovered your channel today and enjoyed this well done piece on Lawrence of Arabia. I was lucky enough to have the film be a part of the curriculum in my Art of the Film class back in 1989, with all films selected by Dr Custer, who was the granddaughter of the ill fated General of Little Big Horn fame. I wish I had seen your piece to help me in my critique as my assessment of Lawrence was quite a bit more rudimentary. This brings me back to those happy days though and makes me want a fresh viewing with eyes that are a bit more open than they were back then. Thank you! Edit: One final comment is that I often refer to this movie as an example of how the western world still doesn’t understand the more vast history of conflict of the Middle East.
He was everything they claimed he was, but he managed all those things inside him better than most people in their lives. He was a man of changing times, and he embraced that madness with a vision of goal that is rare in most people.
A truly thorough analysis of the psychological ramifications of Lawrence's exploits and of the man himself. Thank you for expressing what I was able to feel during my viewings of the film but did not know how to put into words.
"Have you know fear, Englishman?" "My fear is my concern." B R I L L I A N T Enjoyed your analysis, very well done. Because it was filmed on location, with hundreds of extras in a burning desert the likes of which will never be seen again, I give huge credit to the cinematographer! Each scene is exquisitely crafted almost like a painting. The music was outstanding as well. David Lean created a masterpiece of filmmaking. In my opinion the greatest film of all time.
Excellent. I've seen the movie many times. But your analysis brought new depths of understanding. It's not just an action movie but a great study of the mind a very complicated man.
“You don't care about anything except you. You just want to persuade people that you love 'em so much that they ought to love you back. Only you want love on your own terms. Something to be played your way, according to your rules.” - Citizen Kane Also notice how Lawrence wishes to return home and become “ordinary”. He longs for lost innocence. He longs for “rosebud”. The movie opens up with his death and the question of “just who was Lawrence/Kane”. There are so many similarities between these two characters and their fall from grace.
I loved reading his book. The version **after** he lost the entire 1000 page printers manuscript on an English train and then re-wrote. As good as Shakespeare.
Excellent. I've seen the movie many times. But your analysis brought new depths of understanding. It's not just an action movie but a great study of the mind of a very complicated man.
The voice of the motorcyclist at the Suez Canal, shouting "Who are you?" was dubbed by David Lean himself. You cannot get any more symbolic than that! Also there is the theme of shadows, reflections or shrouded images of Lawrence throughout the film, as you have mentioned the juxtaposition of how Lawrence looks at his himage in his knife. He also looks at his own shadow, running about in Arab robes, later - when he walks along the train - the Arabs follow his shadow before the shot is changed to his feet. We see his muriky reflection in the table just before he gets sent off by Allenby and Feisal, and when he sits in the car, being driven "home", his face is barely visible through the windshield. Lean plays these images incredibly well, showing us the phantom, the projection, the shadow we are still chasing until today.
Amazing work for the best film on my list. On the epilogue of the book Lawrence has put on a single paragraph more than I have ever read in so few words. I copy it here for anyone that may be interested but has not seen it already. "Damascus had not seemed a sheath for my sword, when I landed in Arabia but its capture disclosed the exhaustion of my main springs of action. The strongest motive throughout had been a personal one, not mentioned here, but present to me, I think, every hour of these two years. Active pains and joys might fling up, like towers, among my days, but refluent as air, this hidden urge re-formed, to be the persisting element of life, till near the end. It was dead before we reached Damascus."
That Mosaic shows Phaeton being stricken down by Zeus whilst he lost control over his father’s Sun-Chariot. He got too close to earth and so, according to Greek mythology, created the desert.
Good catch! As always, there are hidden visual treasures in every great film, but you need many sets of eyes to see them...
I should have known... Thanks for correcting that.
@@EmpireoftheMind Thank you for the great video! The only reason I spotted that, is that I came across Stephen Fry's wondeful book MYTHOS recently.
@@derhafi Then thank God for Stephen Fry.
That's directing for you. Absolutely perfect metaphor. Great myth, too.
T.E.Lawrence wrote in his book the Seven Pillars of Wisdom that ''All men dream: but not equally. Those who dream by night in the dusty recesses of their minds wake up in the day to find it was vanity, but the dreamers of the day are dangerous men, for they may act their dreams with open eyes, to make it possible.”
A book initially intended as a travel guide about type cities of the East: Cairo, Smyrna, Constantinople, Beirut, Aleppo, Damascus, and Medina.
An echo of British art critic John Ruskin's "Seven Lamps of Architecture" first published in 1849, on the demands that good architecture must meet.
"This... I did."
Love it
Know who reads it?
Every military college, because it's the blueprint for waging an insurgency
Read his other book Revolt in the Desert, if you can find it
I own first edition copies of both books...they aren't the only books about Lawrence I own, anything in print, I own, and read
I loved this movie and never caught the change from "none of my friends are murderers" to having literal murderers as friends.
Great essay!
it's quite a long movie, i don't blame you for forgetting lines from the start when you're near the end
Same.
What is happening now in Palestine is the result of what is shown in this film.
@@Beautiful-live Thank you, literally none of us knew that.
Would you elaborate on this?
Was awed by the image when I was 5; by the story when I was 20; and then by the history when I was 35. I rewatch this film over and over throughout my entire life !
Every year I watch It’s A Wonderful Life the story changes for me. I’m 35 now and I pick up on things I never would have at 18.
Lol also a obi wan fan you are an interesting fellow.
@@seofutbol such as
@@adamhauskins6407 when I was 13 I had no idea how banking worked or what a bank run was. I just liked that everyone was happy at the end.
When I was 18 I felt like George. Full of P & V and no where to go.
At 25 I still felt like George. Like I was missing out on some big adventure. Didn’t see or comprehend what I had at the time.
Around 30 I understood banking since I worked at a bank. What George had to do to keep the bank running and how supplying people with homes was a noble goal.
35 now and I empathize with Peter Bailey. He sees Potter and what he stands for as an inevitable wave that is coming and Peter is just trying to make a difference even though he could have sold out long ago. I also understand the frustrations of being a husband, father, and breadwinner. There’s more than a few times I wanted to kick over the model bridge like George did.
I decided to rewatch the movie today after your comment. It’s my day off and I needed to clean the house anyway so it’s playing in the background.
“Why don’t you kiss her instead of talking her to death?! Youth is wasted on the wrong people!”
35 year old me appreciates that line because I’m on the tail end of my “youth”. Don’t want to waste it.
@@adamhauskins6407 I’m a firm moderate in my political beliefs. On the one hand I agree with Potter’s no nonsense approach to business. On the other I adore Peter’s desire to provide affordable housing. And after working at a bank for 5 years I have seen the spectrum of poor to wealthy. I’ve seen some of the choices, work ethic, and opportunities that allow people to be wealthy and I’ve seen unfortunate circumstances and poor choices that drive them into the poverty. This line hits home this particular viewing:
“Just remember this, Mr. Potter, that this rabble you're talking about, they do most of the working and paying and living and dying in this community. Well, is it too much to have them work and pay and live and die in a couple of decent rooms and a bath? Anyway, my father didn't think so.”
That legendary entrance of Omar Sherieff is one of the iconic moments in the history of world cinema
Equally iconic is Sharif's exit near the end of the film. He just disappears.
@@michaeljohnangel6359 👍 absolutely
Excellent review thank you. I feel you may have overlooked the significance of the movie as a piece of cinematography when it was released. David Lean ( Director) deployed the aspect of vast expanses of nothingness to a profound level. Although a lot of the U.K. audiences at the time had experienced similar regions during WW2, it was a depicted as a void of surreal proportions. Dangerous to the homely western european and a place where transformation to wildness and savagery feels impending. Thanks again for a great review; I can’t imagine another movie where another series of extended and extreme long shots of a figure emerging from a shimmer of heat haze could out do this movie.
They were told it was impossible to capture a mirage on film. Tremendously hard film to film in those conditions film the cameras they had then
Agreed... and I also love the spoof of it that was in Monty Python and the Holy Grail!
A lightning in a bottle film. A masterclass of visual storytelling. You could edit out all the dialogue and still basically understand the crux of what’s happening. The desert never looked so beautiful than thru the eyes of David Lean and Fred Young.
..yes, the film aesthetics, a close up on the silent cinematic ideal!
That scene near the beginning at night looking up at gazillions of stars . . .
It really is one of the few five star masterpieces in the history of film. Everything is on point. No weaknesses at all. David Lean and company really did themselves proud here. The directing, acting, cinematography, screenplay, production design, editing, locations and wardrobe were all first rate. It’s too bad films of this quality are so seldom produced, but that scarcity makes these cinematic gems all the more valuable.
Lawrence of Arabia is a beautiful film, and David Lean and Fred Young did a marvellous job - more a work of art than a "job" really. But I think the idea that the desert never looked so beautiful than through their eyes is a bit steep. Nomadic tribes, generations upon generations of them, and THEIR eyes, their artistic sensibilities? Perhaps it's just a matter of the mot juste - through Lean and Young's CAMERA lenses maybe.
One thing I noticed is Lawrence and Sarif Ali are connected and mirrored in the story. At the well Lawrence shows compassion for the dead while Ali shows indifference and contempt but at the shelling of the Turk’s, it is Ali is who shows compassion and Lawrence who shows in difference and contempt. It is that point that the trade places. In the end Lawrence is lost to the desert While Ali transcends the Desert. It is Ali’s humbleness and restraint that saves him while it is Lawrences Hubris that destroys him.
Thank you very much for this realistic psychological insight. It seems to me that this is exactly the crucial point:
The Arabs and their leaders, here it is King Faisal, are very religious people and therefore really humble in the true sense of humbleness: „There is no God than the ALLMIGHTY GOD.“
Lawrence, on the contrary, had a more or less narcissitic personality disorder . His hybris dropped him down. So he became irrelevant in the end.
You can also express it in other words:
Lawrence was a DOUBLE AGENT.
He fought for both: The British Empire and The Arabs - against The Ottoman Empire.
It is necessary to mention here, that under the rule of the Ottoman Empire there had been peace in Palestine for 400 Years untill the Big Naqba 1948!
Lawrence as a British solider wanted the British to defeat the Turks. On the other side his somehow „schizophrenic“ mind and heart were fascinated by the sincerity and righteousness of the Arabs, whom he therefore „loved“. He put his „love“ into work according to his own somehow grotesk/macabre way.
@@juliaprunte9898 ya, like there was "peace" under any empire - that's a meaningless statement. Of course an empire rules itself, so if the entire middle east is ruled by a single empire obviously it won't be "at war".
war happens between different independent entities.
this is part of the reason Iran is trying to take over the middle east (via lebanon, syria, yemen, iraq, etc.) sending its "revolutionary guard" to make all these arab entities crumble from within.
Lawrence of Arabia, 2001 A Space Odyssey, The Dollars Trillogy, Dr Strangelove, Once Upon a Time in the West, Psycho, Spartacus, The Longest Day, The Dirty Dozen and others. The 60s was the golden age of Cinematic History.
finally another appreciator of The Longest Day!
The Dollars trilogy Hollywood? Some others you mention were part British. The 60s was a golden age for world cinema and development of various national cinemas, not so much Hollywood, i.m.o
@@mizofan Not to mention that half the list is either Kubrick or Leone
Almost if not all of those movies were British or Italian.
Don't forget Andrei Rublev, The Leopard, Woman in the Dunes, Persona and Au Hazard Balthazar!
Great analysis. The Suez moment pops off of the screen. A man on a motorcycle crying out loud the existential question formed by desert life and the inner desert of self, "who are you?" Its a brilliant moment built up by Lean and the silence of Lawrence is the devestating answer. After the desert has up ended his idealism, he is no longer certain of what he believes or who he is. He can only hear the question but cannot respond. He is at a crossroads where the modern marvel of the Suez crosses the ancient truth of the desert. What a mind blowing scene.
FINALLY SOMEONE MAKE AN ANALYSIS VIDEO ON THIS MAGNIFICENT MOVIE THANK YOU SO MUCH
You’re welcome! It was 100 percent my pleasure.
He went towards the jungle looking for adventure, but found the Heart of Darkness instead.
He was an intelligence officer on a mission. Stop glorifying spies and professional revolutionaries, effectively falling for propaganda.
@@jemperdiller i refuse.
Interesting point, if he had gone to Damascus, the same problems of keeping the Arabs together could have resulted in failure there too.
Havnt we all
@@jemperdiller I agree with you, but if that's how they see themselves then they will present themselves that way, the most convincing propaganda is spread by those who actually belive it I think
Ive come to appreciate this movie after watching it again and again as the best film ever made. No CGI, shot on location, great story, director, actors. A work of art.
YES!
Totally agree. My favorite movie of all times. First saw it as a young teenager at the local cinema and still watch it regularly on my laptop, now in retirement. 🙏
I always thought T.E. Lawrence was a bit of a tragic figure, wrestling with deep insecurities and trying to prove himself too hard, ending up as a wandering soul with even more doubt ind possibly remorse. This analysis sheds a whole new light on the man, at least for me. Thank you kindly.
The roots of that insecurity are simple. Lawrence was a closet gay in a very homophobic world.
As a boy, Lawrence used to dream of knights in armour and imagine himself as them. This critique captures this, and the inevitable, final, Greek-tragedy-like disillusionment. We are not heroic knights; they never existed outside of stories.
Most heroes are not stoic clear men of certainty! They are full of doubt , rage, courage and every other human emotions.
Then ones that don’t are often psychopaths
Modern viewers look at O'Tooles performance and say, "Thats a little over the top." However, taking into account the director and the subject matter I can't say there was any better way to do it. Peter O'Toole is a entire class of acting unto himself.
Lawrence's character loves to be a larger-than-life figure, the theatrics. Peter O'Toole's perfomance perfectly fits Lawrence
YES!!
It’s not worthwhile to consider what satisfies a modern audience when discussing anything that doesn’t suck.
Nobody says that
This was truly brilliant. Moving analysis. I think the element of grandiosity and extreme Narcissism that was the shadow of Lawrence's genius as caught in the film, does not even begin to qualify the mania that possessed him- both visionary and self-destructive- maybe even subconsciously the heroic need he played out, was far more imperialistic than he could have seen. This is one of the greatest movies we will ever see. You captured the journey, and the arc of transformation here brilliantly. There is something of Hamlet in Lawrence. And Arabia his Parents. How powerful is O'Toole's ability to channel the crestfallen Lawrence, unable to live in the contradictions his journey laid bare. Thank you again for this amazing work you present here.
You’re welcome! And thank you for the kind words! It’s such a struggle to put into words everything this film is. There’s so much there.
@@EmpireoftheMind there really is it's one of the richest films ever made- focus on Lawrence's arc of transformation was very wise. My pleasure you are doing great work!
Its difficult to get any sense of what the real Lawrence was. The Lawrence of Arabia that the world knows is largely the creation of American journalist Lowell Thomas. The man in many respects became the image that Thomas created through his writing.
What is exquisite about the concept underlying the film is that Lawrence THINKS he is a total rebel against British colonial values--while ending up as the ultimate agent and manifestation of them. Know thyself and thy ideology, libertarian types.
The final scene: As Lawrence passes by his previous source of obsession (the Bedouins and Arabs) the obsession that killed him from inside, he soon passes by his new source of obsession ( the motorcycles) the one that will eventually kill him from outside.
Excellent analysis - loved the use of Lawrence's own biography throughout. Looking forward to working through some of your other content!
Thanks! Glad you enjoyed it! Hope you enjoy my other stuff as well.
Maybe not use the parts that has been proven the have been made up.
Yes! Subscribed!!
I find it interesting how much Dune by Frank Herbert bears a resemblance to this story.
Frank was heavily influanced by Seven Pillars of Wisdom.
Dune also broke Paul at the end of his story.
Same actor in Dune as this movie the Turkish guy who abused Lawrence
There is a scene in Dune where Paul blows up a Harkonnen transport that is obviously a homage of Laurence's attack on the train.
I've never seen this movie, but after watching this video the whole time I kept thinking of paul in dune.
For over 40 years, I have read everything that I could find on Lawrence. To say that he fascinates me is an understatement. I commend you on your very serious and astute analysis of this extraordinary film. Truly "spot on"! Well done. Well done.
I too have learned everything about lawrence, faisal and the hashemite family and arab revolt as a whole
Finally. Someone talking about the central theme of the movie. The first movie poster literally had a question mark in place of Lawrence's face, so amazing when I've seen some critics say, "But we never find out who he really is"! Er, that's the point of the film!
BTW, seen this movie about 20 times, but never thought about the significance of The Man Who Broke the Bank at Monte Carlo or the Roman busts! Never stop seeing new stuff in this movie.
Lawrence did not capture Damascus, as the film shows. He was under arrest at the time, for being out of uniform. Detachments of the Australian Light Horse captured the city.
Correct. Are you Australian? I am. My grandfather fought in World War I, in Europe.
I came here to post similar (the Light Horse bit). I'm not sure that the bombardment was Jerusalem either.
According to the ultimate source on the Arab Revolt in English - The Arab Awakening - several bands of Arab cavalry reached the southern gates of Damascus about dusk on October 30 even as the last of the Turkish forces were fleeing the northern gates.The Aussies did not arrive until next morning.
Silly. The historical inaccuracies of a great psychological study like this are perfectly irrelevant. You don't watch this movie to learn history, especially as it is based on Lawrence's own memoir - a movingly and beautifully written document which tells only a very different kind of truth to a military history.
It’s a movie not a historical document
I watched Lawrence of Arabia when I was about 10 to 11 years old. I do not remember precisely whether I loved it or whether I thought it was boring, but a positive fascination for the figure and the triumphant nature of the film has always remained since then. I'm now 19, and I've watched many more films since then, and there is of course much left to watch. Thank you for this wonderful analysis - I remember being a bit disturbed by the second half of the film when I was young, haha. I think I'd consider this one among my favourite films, for the impact it's left, even after nearly a decade. I need to see it again, I hope I won't be let down.
As Mr Perkins would put it, this video is "Bloody marvellous, Sir. Well done, Sir!"
This movie is truly something else. It's not just a deep psychological character study, or a great war epic. It's not just one of the greatest movies of all-time with terrific characters, cinematography, direction, and score. It's not even all of these things combined. Honestly, I can't even describe what it is. I just don't know. Nothing really does it justice.
The desert had changed him, it sucked him in and made him think he was something he was not, like the desert showing you illusion of a oasis he showed Lawrence a illusion of his grandeur.
*Nothing shatters one's illusions more expediently than being buggered in a Turkish prison*
Are you speaking from experience? They busted your cheeks, huh?
@@MrTubularBalls I was bummed and then given a kebab so it wasn't a total loss
@@blacknapalm2131 seems a fair exchange to me
He was equally buggered by the brits on his return, symbolised by reopening his wounds. And probably to more shattering effect than "the defilement" as he put it.
Wasn’t Lawerence just Kinky and that “assault” was more a fantasy on his point
Magnificent analysis of one of my all-time favorite movies. One additional point that could have been noted was the conversation between Ali and Lawrence where Ali notes that Lawrence will be "a prince" when his father dies, and Lawrence replies that "He didn't marry my mother." This highlights how outside British society Lawrence has and will be, in a most basic way and, as Ali notes, that by being outside Lawrence can indeed make himself a clan of his own, which, however, in the end is not completely successful either. I love this movie, and watch it again and again, as well as reading other literature on Lawrence and Lawrence's own writings.
An excellent analysis of Lawrence's persosna.
Lawrencec of Arabia is my favourite film.
Spielberg got it write when he said this was a 'miracle of a movie'. It is an 'art-house' film that happens to be hugely entertaining and was also a massive box-office success. Which is why some snobbish French critics hated it. Andrew Sarris said that the film intimidated him. He diidn't mean that as a compliment but it is. Lawrence is the 'Mona Lisa' of the movie industry. Artistic perfection.
My only problem with the film is that after watching it I cannot see another film for several days because nearly every film feels dissapointing in comparison.
Arguably the best written and edited film of all time.
One of my favourite essays on one of my favourite movies of all time. Bravo Sir.
You’re too kind! Thank you.
To OP: I am so proud of your work here. I want to shake your hand. Thank you for your efforts. I didn't think anybody else in our generation would appreciate this film beyond its veneer (and it's a beautiful veneer). I've only felt and spoken on this. You've taken the effort to communicate it through this format. Well done.
Lawrence of Arabia is also one of my top 5 movies of all time but your breakdown was absolutely incredible expressing ideas I had of Lawrence’s breakdown but never actually put into words how it went, simply fantastic work!
I can’t explain how happy I am to find a channel like yours. Keep up the quality content!
Glad you found it!
It feels great to finally see a video, let alone one of THIS HIGH QUALITY, about my favorite movie of all time. Thank you so much for this, you’re such a great content creator and seeing this stuff just... EUGH it’s great
Most movies are dull, and some are truly great. But some films, maybe only a handful of those ever made, soar high above the rest. Flawless. Ideal. Godlike. Lawrence of Arabia is one of those films.
One of the best parts of it to me is the evolving relationship and rivalry between Lawrence and Sherif Ali. Starting out with hatred and distaste, becoming unwilling partners, then to being each other’s most trusted ally. By the end of the film, they are closer than brothers. Sherif is almost in tears when the other leaves him. He has become soft. Considerate. Lofty, even, in his thinking. He believes in changing things through ideals and now wants to be a politician. Lawrence by that point is disgusted by the change he’s caused in his friend.
The journey through the Nefud deserves more attention, as it highlights this relationship and also is a counterpoint the notion that Lawrence is invincible in the first half of the film. He actually struggles in the journey, and almost falls asleep and falls off his camel (as Gasim would eventually do) VERY early in the trip. It is only the constant attention and prodding by Sherif (who sees the narcoleptic episode and judges him harshly for it), that keeps him going. Every time he has a moment of struggle or doubt, Sherif’s hungry, immovable eyes are fixed on him. Proving his Ideals to Sherif makes them more true than they ever were before. And it is the same for Sherif. He is desperate to see Lawrence fail. Why? Because if Lawrence is right and the miracle is possible, then it was always possible before, only none of the Arabs had the mind for it. Also, Lawrence had already dismissed Sherif and his way of life before the journey. If the Englishman fails, then he was wrong, and he was the one who was being unrealistic, and he will pay for his hubris. But if he succeeds, then that destroys Sherif’s identity and lifestyle, and he has to live in a new world. In this way the two keep each other going. Lawrence WASN’T actually as capable as he thought, but he makes himself capable because he can’t bear to see his failure in Sherif’s eyes. This is a prefigurement of Lawrence identity being determined by his image, that was always an aspect of who he was.
Lawrence wins the contest, and his actions profoundly impact Sherif Ali who is changed forever. It is because of this that Ali becomes the person most able to appreciate how broken Lawrence is after he abandons his ideals. He is converted to this courageous idealism just in time to watch his new idol be destroyed by the obligations and airs those ideals impose. It’s one of the central mechanisms that makes this film’s tragedy work.
Thanks for the video, best wishes.
David Lean, the director, actually made it clear in an interview that Lawrence and Ali fell in love during the events of the film - the script was written with that interpretation and O’Toole and Sharif were directed to play their relationship in that way - which adds a whole other layer to the tragedy of the film’s story.
This was excellent to watch. Terrific breakdown and analysis. I LOVE “Lawrence of Arabia” and every December when it plays at the Egyptian Theater in Los Angeles, I bring a friend who has never seen it so their first experience watching is as David Lean intended.
When the young Turk shot Lawrence in the arm and he falls off the train, Lawrence says, “good, good, good”, almost as if he was proud to finally get that great battle scar he has never received and further elevate himself in the eyes of his Arab followers. With each bullet miss from the young Turk, Lawrence stands his ground. No ducking or hiding, but almost daring a bullet to kill him. Only a “golden bullet” can kill him he proclaims later. His belief he truly is an unkillable Prophet who can walk on water is further enhanced in his eyes.
The journey of Lawrence’s pistol, with the round metal piece on the handle, is often overlooked. An “innocent” Lawrence gives it away freely to Tafas, who is then killed by Ali who takes it as his own. The pistol has had many owners. Lawrence’s first journey into his mind descent is when he uses the same gun to kill Gasim. He throws it away. Yet it finds it’s way back to him and is used during the slaughter of the Turks. (No prisoners!) Eventually seen for the last time at the very end of the film when he uses that same gun with the metal round piece at the end as a gavel asking for the raging Arabs to cease their bickering.
Can it be proven it is the same exact gun from the film’s beginning to the end? No, it can’t. I’d like to think that Lawrence’s character journey and arc and that of the pistol were the same and the two no matter how many previous owners or character arcs were the same.
You're lucky to be able to see this masterpiece of the cinema the only way it's meant to be seen: on a BIG SCREEN. Maybe I'll travel there some December to watch it myself.
This channel is climbing to 1 000 000 subs really fast, really soon.
That would be incredible.
It will, this is so entertaining.
The narrator gives us something that has been eroded from wider Society- free thought.
I've always felt it would be interesting to see a short follow-up story about his time as an Aircrewman working on seaplanes in the early 30s. Its a little known fact that "Airman Shaw" invented a superior form of motor launch used in rescuing downed pilots out at sea, an invention that went on to save hundreds of lives in WW2. A redemptive post-script, perhaps, that complicates Lawrence's already mythic life.
I'm sure you've read "The Mint" by Lawrence.
Did you ever wondered why Lawrence, assumed the name Shaw , when he enlisted in the British Air Force?
@@raywhitehead730 FYI: that’s Royal Air Force as in RAF
I "love" that the journalist IS in fact "taking his virtue", picture by picture until there is none left in the last photo of him. Such rich symbolism everywhere
That's a great observation! I never thought of that before
Camera means "a chamber", and is a room, a space of the sort the privilege of which nomads, the sons of the road, are "not worthy". The desert space pulls at Lawrence and alters his form; his soul expands into that vast desert space and then the equally voracious space that is the Camera steals Lawrence's soul.
The Camera is also the camera of David Lean and of Freddie Young, the makers of a drama, not of a history. Cinema's most heroic creators warn us they descend the same road as Lawrence. The world they enter, the world as-it-is, grinds them, overcomes them, and desiccates them. The world will never be what they wanted, will never overlap their vision. It will never stand as their ideal. In their act of entry, they stain what they embrace. Like Lawrence, they cannot leave it pure. They are vandals. They defile what they film and leave it strewn behind them.
A man can be at home, can be defined well, only in chambers as small as the scale of his body, never in the vastness of his thought. And without definition, homeless, he blows apart.
.
Fantastic.
This is a brilliant and elegant analysis of Lawrence, both the film and the man. Both are so often misunderstood, people tend to see what they want to see, but he was a far more complicated man than they recognise.
Thanks for the video, thoughtful insights which will have me look at the film again. Lawrence's rise & fall one of the greats depicted and Peter O'Toole was just marvellous. Never made the connection with the closing motorcycle scene so thanks for bringing that up, so subtle. David Lean......just remarkable depth.
Best wishes from Ireland 🇮🇪
Excellent thought provoking analysis. Something else to add: Lawrance is asked "who are you" on both sides of the film arc. First by Prince Faisal (when Lawrance arrives at his camp,) and second by the man on the motorcycle.
Who I believe is the director David Lean
Lean did the vo
Whoa, that was deep! I never saw that when the reporter was around we were seeing the myth. That's brilliant!
Thanks!
An absorbing analysis. You have picked out some nuances I hadnt noticed after 56 years of rewatching! Thank You very much!
My father took me to se this film when I was 12 years old and even though I didn’t quite understand it I knew that what I just observed was better than anything I ever saw . Those desert scenes are unbelievable and so is the acting .
My father - and mother - took me too.
This is the peak of film youtube! Watched the video 2 days ago and haven't stopped thinking about it since.
I am absolutely certain that if you continue making brilliant movie analysis videos like this one, your channel is bound to explode one day. The production value of this video is incredible and I wish you the best of luck with your channel and content. Subscribed.
Thanks for your analysis! By coincidence, I watched this movie again just the other day, and you helped articulate my thoughts and expand upon them. I think it's interesting how the terms used to describe him are so varied and often contradictory in the same scene; barmy, clown, half witted, bad mannered, fat, mad, ordinary, extraordinary. In terms of storytelling, it illustrates these descriptions so economically and vividly - as you say with the matches. The visuals, themes and dialogue are so expertly balanced - never on the nose, and never too vague.
Another thing I noticed was the way 'young men' and 'old men' are portrayed. When first meeting Prince Faisal, the attitude is, "He's a young man, and young men are passionate" and "before the gardens comes the fighting". Lawrence's idealism is seen as the way forward, a breath of fresh air. And at the end, "Young men make war. Old men make peace. The vices of old men are mistrust and caution. It must be so." It seems to be saying that idealism is needed to shatter the world and move forward, but ultimately caution has to pick up the pieces - without necessarily saying which is right or wrong, or perhaps even saying there is no other way. I wonder if we are to presume that Faisal, Dryden & Allenby see all this coming a mile away - the pragmatism and cynicism of the old man, in the face of Lawrence's spiral into delusion. It's kind of heart breaking when Faisal calls Lawrence "Major" and a good liar.
We might say, there was a time and place for Lawrence (in the movie's account) where he served his purpose, both to those in power and those at his side, whom he inspired and united, but ultimately that could only ever be a temporary purpose.
Fantastic point about old men vs. young men. It is also heartbreaking when Faisal says that they are all glad to be rid of Lawrence. One of the most depressing endings to any movie.
It just struck me that the parallels between LoA and “Patton” seem so numerous as to defy mere coincidence.
Each film is a psychological character study in the guise of an action movie.
Each protagonist sees himself as larger-than-life, extraordinary, destined to greatness.
Each man confesses that they have come to enjoy the butcher’s business they have undertaken.
Each man, brilliant at warfare, finds the political waters that come after to be beyond the scope of their talents.
Just as the relationship between Lawrence and Ali is inverted over the course of the story, so also is Patton’s with his subordinate/superior Bradley.
Each man dies at the hands of a conveyance, rather than any enemy they faced.
Surely there are others I have missed.
It’s clear to me that Schaffner and Coppola were strongly influenced by Lean’s epic work.
It is quite strange to see the rise and fall of this man when I know that such events made my part of the world what it is today.
However, there is always one thing I could understand quite easily. The desert takes many things. That's why most of us prefer the Nile.
Egyptians and Bedouins are totally different cultures with different mindsets. Frankly, the Egyptians did better historically. At least, until the discovery of oil.
@@JohnDoe-et8thfrankly, no one asked you foreigner to rank us...learn to keep your thoughts private
I got goosebumps throughout the video. As with any work of art, interpretation is in the eye of the beholder, and EotM's is beautiful. Thank you.
Thank you!
In the entire 4 hour film, the word "Oil" is never mentioned.
Cool
Well, it's the year 1919, oil was yet to be discovered in Arabia.
Do you count that as a flaw?
@@robertohoraciovines5416 The plot of the movie was centered around north western arabia, a land which didn't have oil and still don't, the talk of oil in eastern Arabia however present it had nothing to do with the revolt, the main goal of the British alliance with the arabs was to kick the ottomans out of the land and stop the forced recruitment of the native population, yes oil played a large part in the latter part of the revolt and the proceeding negotiations, which the movie didn't didn't cover. Reducing Arabia to a desert with oil is wrong. My first point still stands.
So American of you to assume Arabia to be known by Oil instead of it's history
Terrific analysis of one of my fave films… saw this many years ago at college, the person who ran the college media room was ex british army and had been stationed in the middle east. He recounted how the remnants of the rail and trains Lawrence blew up
are still to be found in the desert…
Excellent commentary. I watched the film last night. I noticed something I had never noticed before. When Lawrence was writing the cheque to Auda Abu Tayi ( Quinn) in Acaba, he wrote from right to left- the way arabic is written. Lean demonstrated absolute perfection in attention to detail!
Good catch. I noticed that too.
I saw that and wondered if Lawrence was writing in Arabic since he could speak the language.
I saw this movie at a young age but for a child to watch such a long movie is not common.
I just found this movie to be so appealing it captured the aesthetic of the desert, the colour and contours were so enthralling, beautiful and so well filmed.
There is something very special about the filming of this movie and it more than made up for the shorter action scenes a kid may expect from a war movie.
I appreciate this movie for partially revealing the lesser known theatre of war in Mesopotamia during WW1.
A forgotten front.
Great video. I've loved this movie for decades, and have watched it at least a dozen times, but you pointed out number of things I hadn't noticed before. Now I can't wait to go watch it again. Thanks.
I always believed that the scene of the English soldier on the motorcycle on the edge of the Suiez Canal yelling "Who are you?" was an existential mirror image of Lawrence himself asking the robed, desert wanderer with a young ward (a "Prophet" image to be sure) to make a decision regarding his true self.
I was so glad when i recently discovered this true gem of a film among all the BS on netflix. Of course i gave it a rewatch right then and there.
Lovely analysis by the way, well done.
This was an incredibly insightful breakdown.
Your love for this film is palpable throughout this video. I've been watching your channel all weekend and it is outstanding. I'm glad that this type of content is present in UA-cam and look forward to your next video.
This is probably the best analysis on this movie I have seen. Amazing work!
This is the greatest movie, ever. I have always seen the desert scenes as imposing, abd and beautiful at the same time. Now that I've seen this, I can see the paradox of the desert and how it develops inside Lawrence.
This is very well done, thank you. I just finished the film for the very first time and was looking for just such a deep analysis.
Thank you for making this, I found it really informative. A few days ago I visited Lawrences house in Clouds Hill and have since watched the film and am now going to fetch his book 7 Pillars.
Fascinating person
One of the greatest films ever made. I never get tired of watching it.
I have heard other analyses of this film but I have never heard such a different and yet incredible analysis like yours. Well done! Please do more film analyses, the cinephile community needs videos like these! Thank you!
Perhaps it's the extent to which one is engrossed and enthralled upon their first viewing that seals a movie in their mind as the greatest movie of all time. I saw Lawrence of Arabia on my little black and white TV when I was a teenager. The commercials (lasted only 90 seconds in those days), the tiny screen, and the uncomfortable chair of my poor home, did nothing to diminish its impact on me. I spoke of it as an experience that made the edges of the screen 'disappear'. Because of my experience then - and afterward at the cinema, I simply cannot say otherwise than that Lawrence of Arabia is the greatest movie ever made.
Beautiful.
Agree completely. Compelling. Beautiful. Deep dark characterisation. Magnificent acting from every single person. An unforgettable film - it moves me every time I see it, Or even see parts of it and it has never dated.
Your analysis completely expanded & enormously enriched my understanding of both Lawrence & the genius of this film. One thing it took me many years to get my head around was how the beautiful Peter O'Toole, 6'2" & twitchy as a cat, was cast in the lead. But O'Toole is exactly how Lawrence saw himself! A gorgeous, golden god. It added another dimension to a movie I saw & was seriously affected by the year it came out. I was 18. Thank you for your work.
Ah, yes, one always needs to see the irony of a character's perspective as part of the film. Like taking Amadeus to be historically accurate instead of realizing it's through the eyes of a jealous madman.
'A Prince of Our Disorder' by John Mack is the best work for understanding Lawrence.
Yes !!!
I agree with you.
I have read many books about TEL, and is the BEST book written about TEL.
Mike Yriart
From San Andres
Great Buenos Aires
Argentina
New subscriber, loved this analysis. I always found the ending haunting. A man who loved life, the desert and freedom. But by the end, was a broken man who never was the same.
The disillusion of youth: the greater the illusion, the greater the disillusion.
What timing for your incredible video essay to come out! I purchased the blu-ray boxed set 9 years ago and JUST WATCHED IT a few nights ago. I have no idea why it took me so long, but I’m happy your essay uploaded the same year I finally got around to digesting it. The philosophical themes went deeper than I expected, and I loved it so much I purchased a digital copy on iTunes of the new Dolby Vision 4k/ Dolby Atmos restored version (which is much more vibrant) to watch on our oled. I went to college years ago for my AA in philosophy and this was like the best of my old philosophy club discussions. Our school actually had both the film club, and philosophy club team up several times for screenings of our favorite films at the local library followed by some pretty intense Q&A much like you presented here and I just have commend you on so beautiful a tribute. It is truly timeless. 🙏
*WHAT AN AMAZING THESIS - Beautifully written and narrated THANK YOU* (subscribed)
This is literally perfect. Magnificent analysis.
I don't know if you will every be able to find a copy, but many years ago when I worked at the Australian Disney Animation Studio (now gone) we were shown a video of a guest lecture Brad Bird had given at the California Studio where he spoke at length about the quality of the symbolism in Lawrence of Arabia. It was brilliant and the first time my eyes were opened to the significance of the film.
TV used to be a vast waste land.......UA-cam and it's Jewels like this channel enormously make up for the years wasted in TV land. This is one of the BEST content channels I have seen so far. I can't wait to delve into its many episodes. Each one like nectar for the creative mind.
This film was Peter O'Toole's debut. He did a lot of theater but this was his first movie
Your video essay was amazing. Absolutely wonderful analysis. Lawrence of Arabia is one of my top 10 favorite films. You just gained a new subscriber.
Phaethon, the bastard son of Helios wanted to show he was his son, by driving the Helios' chariot across the sky as his father would. Despite Helios saying no, Phaethon was adamant. And Helios relented. Phaethon lost control in an instant, with the horses failing to recognize a driver, and the chariot began to scorch the world. Zeus struck the chariot with a bolt and Phaethon fell to his death. Makes a lot of sense for Lawrence.
Your channel is absolutely wonderful! It's rare to find video essays that dare to delve as deeply (and as densely) as this.
Amazing stuff dude, best of luck with your channel. Just came across your Master and commander analysis and subbed right there
Thank you! I very much appreciate it.
What a brilliant analysis. Stories like this & The English Patient have fascinated me for a while, & I enjoy other perspectives on them. So glad I stumbled across your channel.
Absolutely fantastic analysis. That the film is a psychological masterpiece is totally correct. That's my favorite part of it; it's what made me latch onto the film and consider it my all-time favorite.
Just discovered your channel today and enjoyed this well done piece on Lawrence of Arabia. I was lucky enough to have the film be a part of the curriculum in my Art of the Film class back in 1989, with all films selected by Dr Custer, who was the granddaughter of the ill fated General of Little Big Horn fame. I wish I had seen your piece to help me in my critique as my assessment of Lawrence was quite a bit more rudimentary. This brings me back to those happy days though and makes me want a fresh viewing with eyes that are a bit more open than they were back then. Thank you!
Edit: One final comment is that I often refer to this movie as an example of how the western world still doesn’t understand the more vast history of conflict of the Middle East.
Absolutely tremendous commentary. Well done.
An excellent, well-paced analysis. Good work mate!
Wow. Brilliant analysis of another of my top favorite movies!
Love how you doing this, Lawrence of Arabia is my number one movie! Feel like I've spent those 27 minutes so fast I never blink.
Thank you so much!
He was everything they claimed he was, but he managed all those things inside him better than most people in their lives. He was a man of changing times, and he embraced that madness with a vision of goal that is rare in most people.
A truly thorough analysis of the psychological ramifications of Lawrence's exploits and of the man himself. Thank you for expressing what I was able to feel during my viewings of the film but did not know how to put into words.
"Lawrence... Lawrence of Arabia...
He was an English guy...
He came to fight the Turkish."
I have seen such a magnificent analysis like this a few times. It reveals the amount layers of an identidy...
"Have you know fear, Englishman?"
"My fear is my concern."
B R I L L I A N T
Enjoyed your analysis, very well done.
Because it was filmed on location, with hundreds of extras in a burning desert the likes of which will never be seen again, I give huge credit to the cinematographer! Each scene is exquisitely crafted almost like a painting. The music was outstanding as well. David Lean created a masterpiece of filmmaking. In my opinion the greatest film of all time.
Excellent. I've seen the movie many times. But your analysis brought new depths of understanding. It's not just an action movie but a great study of the mind a very complicated man.
“You don't care about anything except you. You just want to persuade people that you love 'em so much that they ought to love you back. Only you want love on your own terms. Something to be played your way, according to your rules.” - Citizen Kane
Also notice how Lawrence wishes to return home and become “ordinary”.
He longs for lost innocence. He longs for “rosebud”.
The movie opens up with his death and the question of “just who was Lawrence/Kane”.
There are so many similarities between these two characters and their fall from grace.
Insightful. thank you.
Need to reserve 6 hours for a double feature
Thank you 💖 for such a brilliant analysis of the formidable film 📽️ ✨
I loved reading his book. The version **after** he lost the entire 1000 page printers manuscript on an English train and then re-wrote. As good as Shakespeare.
The Seven Pillars of Wisdom or another writing? Thanks!
@@timvandenbrink4461 he had to rewrite the seven pillars. Amazing
@@GerardHammond Wow, thanks! I’m going to add that book to my library. Greetings from Michigan!
This is the second video by you that I've watched (the first being your analysis of Master and Commander), and you've gained a subscriber.
Thanks mate!
Excellent. I've seen the movie many times. But your analysis brought new depths of understanding. It's not just an action movie but a great study of the mind of a very complicated man.
The voice of the motorcyclist at the Suez Canal, shouting "Who are you?" was dubbed by David Lean himself. You cannot get any more symbolic than that! Also there is the theme of shadows, reflections or shrouded images of Lawrence throughout the film, as you have mentioned the juxtaposition of how Lawrence looks at his himage in his knife. He also looks at his own shadow, running about in Arab robes, later - when he walks along the train - the Arabs follow his shadow before the shot is changed to his feet. We see his muriky reflection in the table just before he gets sent off by Allenby and Feisal, and when he sits in the car, being driven "home", his face is barely visible through the windshield. Lean plays these images incredibly well, showing us the phantom, the projection, the shadow we are still chasing until today.
Amazing work for the best film on my list. On the epilogue of the book Lawrence has put on a single paragraph more than I have ever read in so few words. I copy it here for anyone that may be interested but has not seen it already.
"Damascus had not seemed a sheath for my sword, when I landed in Arabia but its capture disclosed the exhaustion of my main springs of action. The strongest motive throughout had been a personal one, not mentioned here, but present to me, I think, every hour of these two years. Active pains and joys might fling up, like towers, among my days, but refluent as air, this hidden urge re-formed, to be the persisting element of life, till near the end. It was dead before we reached Damascus."
One of my favourite films of all time, films like these come once in a while!