Attention: at 9:06 I said that Lawrence participates in a massacre of the Turks "at the behest of Ali." This was a mistake. The line should have read: "at the protest of Ali."
Yes, spot on. All to show, I believe, the complexity of the human condition. We are all two people; half killer, half peacemaker. Our character changes from place to place, from time to time depending on how we perceive the situation to suit our own beliefs. Ali kills the man at the well because he is a member of an enemy tribe yet he will not condone the massacre of another enemy, the Turks. This is all bounded by Ali's sense of honor. His belief in honor dictates his actions regardless of their intrinsic nature. Same for Lawrence. He condemns Ali for shooting the man at the well, rebukes Ali for believing the man is not human, yet he is willing to execute a friend for what he perceives is for the greater good (maintaining the fragile tribal alliance, leading to eventual Arab victory). This belief (in the greater good) motivates Lawrence throughout the entire film and allows/permits him to commit unspeakable acts. Which is something that all humans do; justify and rationalize our actions through various beliefs both legitimate and illegitimate. This duality of man is the central theme of the piece and something that is directly hinted at during the opening scene at Westminster. Some people say he was a great man, others say he was "shameless self-promoter".
Yes....Lean was so great w/ symbolism.....I have never been a big fan of this great film, & don't know a lot about it from memory, but I always remember the great overhead wide shot of the coastal down via the desert, with all the defensive cannons pointed toward the sea; as they assumed nobody could invade from the other direction. One picture tells a thousand words.
They say you can freeze any frame of a David Lean film, put a frame around it and hang it on a wall. His shot composition and framing is another level. Beautiful film-making and craftsmanship throughout and this is a magnificently constructed scene.
You might like to know that line spoken by the motorcyclist at the end of this video, "Who are you?" was voiced by Sir David Lean. I find this particularly interesting as I believe "Who are you?" to be the central question of this film. A great deal, if not most, of the film's dialogue is focused on that very question.
Agreed, and very perceptive. I view this film as the quest by one man for his identity -- who am I? It occurs in one form or another repeatedly throughout. I also believe it a central question in the lives of all of us. This is among the many reasons I consider Lawrence the best of all films.
And the use of a motorcycle being associated with this question, causes us to think full circle to his destiny--and the motorcycle accident that begins the movie!
And a theme that is barely developed in the moments leading up to that scene. There is barely any change that is brought about to him, besides the fact that he now knows what killing a person is like. Most of the change is of the exterior, where his relationships change and he becomes accepted by the arabs.
As an arab, i love this movie. It explains to people that our tribalism is a product of our environment and that even an englishman will become like us if he Had to live in such an unforgiving environment back when there was no technology
Ahmed El-Ibiary, I cannot agree or disagree as I simply don’t know. I will say this, however: T. E. Lawrence was perhaps one of those uniquely principled people in history who prized honor over glory. It is my understanding that he dearly wanted to be knighted, but when his chance came he refused it. Why? Because the English and the French plainly deceived the Arabs in order to gain the Arab people as additional fodder for their enemies while they took the spoils.
True, Industrialism and technology have always had a way of "civilizing", even in the UK before the industrial revolution there was always warring kingdoms and tribes, its the same across the earth
So many terrible "reviewers" on TH-cam with no knowledge of cinema parroting each other and trafficking in the most simplistic observations, often to comment on utter tripe cinema. It's really refreshing to find your channel here, particularly since you really delve into the meat and potatoes films of the classical arthouse. I saw all of these movies years ago and find your fresh takes teach even me more than a thing or two. I subbed a few weeks back after watching your incomparable series on 2001.
Although I agree with a lot of what you just said, I would disagree with a word that you used : "arthouse". "Arthouse", originally, referred to new brand of film-theaters appearing in the United States, which were not showing Hollywood films or films but independent films produced on a lower budget, foreign-language films, and documentaries, in the 40s and 50s. Arthouse came on to be used more broadly to refer to films that were not produced for a mass market, and therefore believed to have higher artistic ambitions, and who generally were independent american films, foreign-language films or foreign films or documentaries (not american, thus, because the term originated from the US). But Lawrence of Arabia was not a arthouse film. It was produced by an independent producer, Sam Spiegel, (who had built himself a little fortune during his time as an agent and a producer working for Universal) but also by Columbia Pictures who distributed the film afterwards and the budget allowed them to hire a huge cast. Even if O'Toole was unknown, Alec Guinness, Jack Hawkins, Claude Rains, Arthur Kennedy, José Ferrer and Anthony Quinn were known quantities, not only in England but also in America. They were big stars that you could only get together on a Hollywood-type budget, allowed by a big partner. And neither was 2001, that you also refer to (and many of the other films discussed in this channel, like Blade Runner or The Shining, etc). If you want to go on to make a broader statement that it was easier to get artistically ambitious on a big budget back in the 60s then now before because the overall system was closer to patronage, even with studio-produced films, with one big producer that would be the only real outside influence talking to one director very much in charge of his project, why not ? But let's not reconstruct history. Lawrence of Arabia, or 2001, were never arthouse. They were and remain great films, who changed the medium of cinema in significant ways, the product of great directors at the peak of their abilities. But they were big studios films in their inception. It is not because something is great and artistic that it has to be considered as arthouse. Arthouse does not mean greatness. It's just another market of films with other sets of expectation on a commercial level who happen to feed a lot of the festival market. Production-wise, Lawrence of Arabia has more in common with The Dark Knight than it does with Hiroshima mon Amour. I know i'm being particular about one word that you used. But I take issue with the misuse of this particular word because it does reconstruct, albeit inadvertently, a historical reality concerning a medium that you and I love. By using the term "arthouse" in this way, you're actually, despite your best intentions, defending a brand rather than a reality, which is, I think, back to your words, what you would probably blame those who produce 'tripe cinema' for doing.
“Lawrence” portrayed by O’Toole was the most complicated character ever in film. Masochistic forcing himself to cross that impossible desert, and sadistic as he finds himself enjoying killing the enemy up close and personal. He’s very effeminate yet tougher than all the macho guys he’s hanging out with, and they live in that unforgiving place.
Your correct about the portrayal, and I'm not trying to negate your comment, but in reality, Lawrence was scarred by the killings he committed in the desert. But yes, the portrayal is very complex as well as Lawrence himself.
@@lordslamzer1403 You see something about film-Lawrence being "scarred" by his experience as well after he's been saved from imprisonment with the Turks (by Ali as far as I can remember). Unfortunately, most versions of the film do not show what actually happened between his getting imprisoned and being freed, so his condition at this point is not correcttly framed. It sort of comes out of nowhere.
In fact Peter O'Toole was too large to portrait TE Lawrence, who couldn't join the British Army as "short men" were refused, so TE started as a civilian before becoming a 2nd Lt-interpreter in London (October 1914). Finally as Turkey entered the War and Britain declared war, TE Lawrence and Capt Newcombe were stationed to Cairo - Egypt (December 1914).
I always noticed and in the scenes afterward, I always had a sense that some follow-up event is missing here. But CinemaTyler finally made me see the significance, and I'm ashamed I could not figure it out on my own.
My grandfather (God rest his soul) was born before electricity came to his hometown in Newfoundland, Canada. Imagine how much he saw change in his lifetime. One of his most profound memories was seeing Lawrence of Arabia in the theatre. The colors, the vastness, the cinematography, the scale...
My favorite scene of this movie is when he walks into the Canteen full to the brim with his fellow Englishmen who are all quietly watching him as he quietly walks up to the bar and asks for lemonade.
I believe that Lean might have been the first director to shoot the film in 70 mm, twice the width of the standard 35 mm. Thank goodness, after the disappointing experience of Todd-A-O/Cinerama where three separate cameras were used to create a 105 mm mash up which was projected by three separate projectors onto a gigantic curved screen and which was impossible to take in without dislocating your neck.
TH-cam is full of trite cinema breakdowns that are fluff or just opinion. This is a really solid film critique - insightful, well researched, and respectful. Bravo.
I just recently watched it for the first time. Straight through on Blu-Ray, instead of a scene here or there on a TV channel. I always knew it was a loved film, and now, you can count me as a fan also! I love the "Full" use of the wide frame.
I've never clicked a video so fast, I've been a fan of Lawrence of Arabia since I saw a special screening of it for the 4K restoration. Lawrence +Tyler = 💥
I once saw Lawrence of Arabia in a cinema while on holiday(1970s) in Scotland. Watching this scene in 70mm with quality audio left a deep emotional impression on me.. Maybe when a 4K version becomes available I will be able to capture that moment again. Perfect cinematography.
I saw the 4k version of this movie at an AMC theater. You could see the very detailed grains of sand. The place was packed with people. It is always a profound experience to see this movie on the big screen. A feast for the eyes and ears when it comes to seeing great filmmaking.
I saw the 4k version of this movie at an AMC theater. You could see the very detailed grains of sand. The place was packed with people. It is always a profound experience to see this movie on the big screen. A feast for the eyes and ears when it comes to seeing great filmmaking.
Steven Spielberg went to David Lean when he as a nothing director starting his career. He told David how moved he was by LOA. Imagine then that for hours, David sat with Steven and took him through all the scenes one by one and explained how and why he shot them. Steven said it was like an artist explaining his brushstrokes. Steven said that LOA is a work of art.
Spielberg first met David Lean while they were both flying on Concorde in 1985, so after he had directed Jaws and Close Encounters, ... Spielberg actually became a something director at aged 22 with his first big directing job, an episode on Night Gallery starring Joan Crawford.... he was 27 years old when he directed Jaws.....I don't really think there was any point in Spielberg's directing career where he could be described as a nothing director, he pretty much made a name for himself on his first job at aged 22.
this was a pretty dope scene. but my favorite shot was after they blew up the first railroad. Lawrence was on top of the train, dancing in silhouette. he truly shifted essence at that point. he completely changed who he was.
1Happypiper the restored Lawrence and Die Hard 2 are the only films I ever stood in a long round the block line on opening day for. ;D PS first saw Lawrence at age 10 in 1962 when it first came out. And fell in love with Peter O'Toole ;)
I remember that! It played in San Francisco's major theater in Fisherman's Wharf in 1988. It WAS an amazing experience. IT was only 'adults', with no obnoxious teens or noisy children.
I also saw the '88 restored 70mm print when I was on leave from the Navy. It was at the Century City theater in a special engagement. I'd always been a fan of "Lawrence" since I'd first seen it on TV as a kid, but this was breathtaking. Just seeing all the detail in Phyllis Dalton's amazing costumes for the first time was incredible, as was so much else. The restored scene at the well was more than a closet film geek could have hoped for. I remember at the intermission, there was a huge burst of applause from the audience(and this was a matinee show!), and I lost count of how many times I must have heard some variation of "They don't make movies like that anymore." And it's true. "Lawrence of Arabia" is my all-time favorite film, and quite possibly, the greatest film ever made.
the pistol that "returns" is an ordinary and common webley and was the sidearm issued by the british army, I believe, during both world wars. that he would throwaway such a weapon and have one "just like it" later is not surprising
Again, nothing but great stuff. I like that you've zeroed in on one particular scene that I'm sure many would assume is important, but not as crucial as you've demonstrated. It's always been hard for me to believe that many of the major plotlines in this film were major embellishments of T.E. Lawrence's story, yet Lean manages to justify every single alteration.
T.E. Lawrence is the only historical figure whos biography made me like them less. This is a man of great talent who rejected it. He could have used his influence to really make a difference, but just used it to run away from himself. If it wasn't for this film he would now be all but forgotten, and I'm sure he would have preferred that. The Lawrence of this film bears only surface resemblance to the real person.
Thanks! I recently watched History Buffs' great video on the differences between the film and what actually happened-- really interesting stuff. It's interesting how the film seems to comment on its own embellishments with the funeral scene and the scenes with the journalist.
@@johnmacey2375 "HW bullshit" Say hallauya brother .... Hollywood is in the 'entertainment business' & we can expect some artistic licence .... revisionism .... outright prefabrication .... to occur on a regular basis .... but what happens when HW turns history on it's head ? Example : JFK .... SILKWOOD .... HURRICANE CARTER .... ect. .... Movies that leave a lasting evil impression on young impressionable minds .... For profits sake ? Sweet sleeping Jesus .... Should be outlawed just as yelling "FIRE" in a crowded theatre is .... What do you think ?
The desert, the well, the water bag, the pistol and a compass - so many symbols in one scene. The sound of the water bag actually sounds something like a gunshot. It works so well since it would have to be Lawrence's guide who sees Ali first because it was already shown that his eyesight is better from spending his life in the desert.
The 'who are you' seen is brilliant, but what get's me every time is the bit just before; the shot of the ship going through the Suez Canal, like it's gliding along the sand as if it's a mirage.
Im gonna be honest i barely remembered this scene, for me, the most gorgeous scene is the Rescue of Gasim. Makes me cry everytime, whether i listen to the music or watch the clip, without fail. Probably one of the best most emotional scenes.
The Webley Mark VI top break revolver in .455 caliber was the standard sidearm issue for the British. They were retired in 1947. They are great fun to shoot.
That scene is always amazing every time i watch, just re watched this epic a few weeks ago and im glad there are those who can put together the back ground work and how they made it possible, thanks !
Sir David Lean was a brilliant director and LAWRENCE OF ARABIA is one of my favorite films. Thank you for the analysis of this magnificent scene in the film.
Saw "Lawrence of Arabia" at the Odeon, Leicester Square, when it was released in 1962 - what an experience! And "Doctor Zhivago" at the same cinema many years later. David Lean, in my opinion, was the greatest creator of the "epic" film.
Brilliant analysis of the making of this classic film. There were more technical cinematic nuggets and character study in 10 minutes than you get in whole 2 hour documentaries.
I watched this film as a child and two scenes stayed with me, this and the ‘no prisoners’ charge. I found this very interesting and enthralling. Thanks for you efforts in making this. As an aside I found Mr Box’s voice incredible.
A very interesting commentary. I am over 70 and Lawrence of Arabia is, bar none, my favorite motion picture. I have always considered it to be one of the finest examples of cinematic theater. It has the ability to completely absorb you into the story, even when seen multiple times.
I first saw an unrestored version of this movie at a vintage downtown theater in Santa Fe, NM on the big screen and the place was packed of viewers. Same thing happened later again when the 4k version came out in 2019. I wish I could have been like the man I was talking to, who was seeing it for the first time in a movie theater the other day when LoA was being shown in honor of Columbia Pictures. I am happy when the movie starts, but sad when it ends, because the sublime experience of viewing it is over.
Very good job with this pivotal scene. Just one small but significant quibble: Lawrence participates in the massacre of the Turks NOT at the behest of Ali but over Ali's objections. Their relationship is never the same afterward.
The Cinema Tyler corrected himself, but I would add that their relationship wasn't that altered, as Ali offers Lawrence a garland after the success of taking Aqaba. Also perhaps because Ali realized all too well the tribal commitment prompting their compatriot's one-man charge to avenge the deaths of his village sealed their military response.
to me it was just a reflection of how lawrence had changed from the beginning, he critised ail for shooting his guide in the begining. then lawrence ends up engageing in killing fleeing helpless turks. simple cause there turks. he had become more barberas and crule than ali by that point. he was getting of on war mongering for the pure sake of it.
This picture made such an impression on me that when 40+ years later I watched a DVD of it I could quote whole passage as it played. “The trick, William Potter, is not minding that it hurts.”
Being able to remaster and digitize these old films into HD and make them look better then the day they where released is one of the greatest things in the history of film. Maybe the greatest.
I can't believe I have just found this channel now, it is fantastic. The points are all interesting but including background information & actual clips of the interview rather than just quotes is wonderful. As someone else said these videos go into so much more depth than just analyzing what is on screen but the visuals, storytelling & all the work off screen that went into creating these films is incredably interesting & captivating. I am going to work my way through all the videos on this channel but I refuse to binge watch as there are do many interesting points in each video. I look forward to more quality content & hope others are fortunate enough to find your channel too.
This is the only movie showed us Arabs or some of Arabs (Bedouins) as we really are.. Anthony Quinn was a real Bedouin here, his acting as a Bedouin was great, if he spoke Arabic with Bedouin accent, I will not know he is Western
well, he is part Mexican, which means that he may have some Spanish heritage, which in turn means that he may have some Moorish dna, because spain was controlled by the moors for about 400 years.
3:05 - It's hard to let any mention of "Once Upon a Time in the West" go by without saying what an amazing movie this is, so: This is an amazing movie.
Tyler. You broke down the meaning of the scene beautifully here. Good eye for cinematography (in this case, great cinematography) and storytelling here. Well done, sir.
I really liked this video about what it took to shoot the watering hole (wadi?) scene, one of my favorite scenes of the whole film. In it I thought I heard you mention that the special Panavision lens that was used for Ali's approach from the mirage was 800mm. Something in the back of my mind jostled me into checking that as I thought I had heard differently long ago. In accordance to Panavision's website: "What made the image possible was a 482mm telephoto lens with spherical optics created specifically by Panavision to meet David Lean’s vision. While it holds pride of place in Panavision’s Woodland Hills headquarters in California, the ‘David Lean Lens’ has not been used on any other scene in any other movie since." Thanks for the video. I am looking forward to seeing more from you.
The webley showing up again makes sense to me because it was standard issue to officers in WW1. Its not inconceivable that there would be many of these around .
The best film EVER made. The greatest acting performance EVER in a motion picture. The greatest exhibition of cinematography EVER in a motion picture. Citizen Kane licks the boots of this movie. It's not just that it is great. It is 10X to 50X greater than the second greatest picture ever made. There will never be a motion picture greater than Lawrence of Arabia.
I love that you put "The Man Who Broke the Bank at Monte Carlo" at the end of the video. I've always remembered that scene where he sings it, but I've never remembered to look up the original song later.
After visiting Morocco and Egypt and riding camels I’m able to watch this film in its entirety and enjoy it. It’s a very big film and quite the experience
I just chanced across this video thanks to TH-cam's algorithm, and was left really impressed by the high quality of research and production. There are even references in the captions!. Outstanding job. Thought I knew a lot about Lawrence of Arabia, but clearly I didn't. I look forward to viewing more videos on this channel.
The dialogue in this scene is some of my favourite. Only the "I am a river unto my people" scene is better. I have always wondered what Saudi's think of Lawrence and this film. If he had tried harder, instead of running away and trying to disappear after the war, its possible he could have lessened the damage European powers caused. As they say big things have small beginnings. If he had done more back then, the middle east might be a very different place 100 years later.
In Saudi , people have different opinions about Lawrence . Religiously motivated people see him as a spy who demolished the Islamic Ottman Empire . Arab nationalists see him as good friend who just served his own interest but which happened to be their interest too. Bedouins appreciate him. Some tribes named their sons after him although they have the name wrong , instead of Lawrence they say Awrence. In Arabia , Lawrence is still a controversial figure. However, you cant hate him. Actually I did not realize he was an English till later. I always thought he was an Arab. Lawrence was a good man after all.
I do think the film exaggerates that last 'reclusive' part of his life a bit. I remember learning later that he went to the Paris Peace Conference and did quite a bit to try to get Faisal installed as ruler of a pan-Arab nation (Faisal was eventually made King of Iraq -- somewhat artificially -- which if I'm not mistaken Lawrence had some influence in). It all sort of continues a lesson found in the film - colonial interests don't care who you are or what you've done, they only care about what you can do for them.
Such a brilliant film, and it was robbed by To Kill a Mockingbird. If not for it, it would have swept the Oscars as it had no other competition. Definitely worth subscribing to see more like this video.
The forgotten man here is Andre de Toth, who is credited on the film as a "special consultant". For this scene, Lean told de Toth, "We need a miracle here." The details may be found in two books, De Toth on De Toth, and de Toth's terrific memoir Fragments From The Inside. de Toth was also called in on Superman when the special effects weren't working. As a director, de Toth's range was impressive. If you don't know him, look up his work.
I just viewed Lawrence of Arabia on the big screen last night! Amazing color, extra scenes TCM showing these classics in theaters is a great idea. Shawshank Redemption and Godfather II are up next. I love this channel.
I was fortunate to see this movie on the large screen when it first came out. We went down to a classic moviehouse in Pittsburgh. It was an amazing experience for a young kid.
Lawrence Of Arabia took two years to film, and in that well scene there is a close up of Lawrence which was shot back at the studios in England two years after location shooting in Jordan was completed. It is a small insert , lasting 5 seconds or so, and it is the close up where Lawrence shouts after Ali and says..." as long as the arabs fight tribe against tribe...etc"......you can see a significant change in the appearance of Peter O'Toole in that close up. O'Toole himself spoke about that in an interview on the Dick Cavett show, he recalls how he was 27 years old during location shooting at the well, then for the close up he is 29 years old, then after the studio close up it cuts back to the real location and he is 27 years old again!!! O'Toole said when he watched the completed movie he was quite shocked at the change in his appearance and it is evident to see that change when watching this sequence at the well. We can see a section of that close up at 6.54mins in this clip.
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Attention: at 9:06 I said that Lawrence participates in a massacre of the Turks "at the behest of Ali." This was a mistake. The line should have read: "at the protest of Ali."
Yes- Ali urged Lawrence to " go around" the Turks. Lawrence was caught up by the suicidal charge of the man whose family had been butchered.
Yes, spot on. All to show, I believe, the complexity of the human condition.
We are all two people; half killer, half peacemaker. Our character changes from place to place, from time to time depending on how we perceive the situation to suit our own beliefs. Ali kills the man at the well because he is a member of an enemy tribe yet he will not condone the massacre of another enemy, the Turks. This is all bounded by Ali's sense of honor. His belief in honor dictates his actions regardless of their intrinsic nature. Same for Lawrence. He condemns Ali for shooting the man at the well, rebukes Ali for believing the man is not human, yet he is willing to execute a friend for what he perceives is for the greater good (maintaining the fragile tribal alliance, leading to eventual Arab victory). This belief (in the greater good) motivates Lawrence throughout the entire film and allows/permits him to commit unspeakable acts. Which is something that all humans do; justify and rationalize our actions through various beliefs both legitimate and illegitimate.
This duality of man is the central theme of the piece and something that is directly hinted at during the opening scene at Westminster. Some people say he was a great man, others say he was "shameless self-promoter".
Well done, to acknowledge you misspoke about Ali's intention during an invaluable scene in the story.
Tyler -- solid material thx! Are you a Masters student in film or perhaps undergrad? Cheers! - MGM
CinemaTyler ج
I always loved how Ali enters the film in the mirage of the sun and exits the film in a shadow underneath the moonlight.
I didn't make the connection but loved both those shots.
Almost like he’s part of the natural world…
Yes....Lean was so great w/ symbolism.....I have never been a big fan of this great film, & don't know a lot about it from memory, but I always remember the great overhead wide shot of the coastal down via the desert, with all the defensive cannons pointed toward the sea; as they assumed nobody could invade from the other direction. One picture tells a thousand words.
They say you can freeze any frame of a David Lean film, put a frame around it and hang it on a wall. His shot composition and framing is another level. Beautiful film-making and craftsmanship throughout and this is a magnificently constructed scene.
Anthony Quin was great actor in this film too .
You might like to know that line spoken by the motorcyclist at the end of this video, "Who are you?" was voiced by Sir David Lean. I find this particularly interesting as I believe "Who are you?" to be the central question of this film. A great deal, if not most, of the film's dialogue is focused on that very question.
Agreed, and very perceptive. I view this film as the quest by one man for his identity -- who am I? It occurs in one form or another repeatedly throughout. I also believe it a central question in the lives of all of us. This is among the many reasons I consider Lawrence the best of all films.
Gary Mink ... interesting point Gary. : )
Yes
And the use of a motorcycle being associated with this question, causes us to think full circle to his destiny--and the motorcycle accident that begins the movie!
Quite a question indeed. Lawrence DIDN'T KNOW who he was.
"WHO ARE YOU?" he doesn't answer. He no longer knows who is is, but he's certainly not the man he was before! Genius film making here!
And a theme that is barely developed in the moments leading up to that scene. There is barely any change that is brought about to him, besides the fact that he now knows what killing a person is like. Most of the change is of the exterior, where his relationships change and he becomes accepted by the arabs.
There are a lot of times when he doesn't answer questions.
The soldier across the canal from Lawrence is actually David Lean, himself, shouting his question
As an arab, i love this movie. It explains to people that our tribalism is a product of our environment and that even an englishman will become like us if he Had to live in such an unforgiving environment back when there was no technology
Ahmed El-Ibiary, I cannot agree or disagree as I simply don’t know. I will say this, however: T. E. Lawrence was perhaps one of those uniquely principled people in history who prized honor over glory. It is my understanding that he dearly wanted to be knighted, but when his chance came he refused it. Why? Because the English and the French plainly deceived the Arabs in order to gain the Arab people as additional fodder for their enemies while they took the spoils.
True, Industrialism and technology have always had a way of "civilizing", even in the UK before the industrial revolution there was always warring kingdoms and tribes, its the same across the earth
Fantastic comment!
You gave me goosebumps with that comment! Wow!
That is exactly what the film conveys. As I had the same impression
So many terrible "reviewers" on TH-cam with no knowledge of cinema parroting each other and trafficking in the most simplistic observations, often to comment on utter tripe cinema. It's really refreshing to find your channel here, particularly since you really delve into the meat and potatoes films of the classical arthouse. I saw all of these movies years ago and find your fresh takes teach even me more than a thing or two. I subbed a few weeks back after watching your incomparable series on 2001.
I agree 100%!!!!!!!!
Couldn't agree more. This channel is pure Gold.
Although I agree with a lot of what you just said, I would disagree with a word that you used : "arthouse". "Arthouse", originally, referred to new brand of film-theaters appearing in the United States, which were not showing Hollywood films or films but independent films produced on a lower budget, foreign-language films, and documentaries, in the 40s and 50s. Arthouse came on to be used more broadly to refer to films that were not produced for a mass market, and therefore believed to have higher artistic ambitions, and who generally were independent american films, foreign-language films or foreign films or documentaries (not american, thus, because the term originated from the US). But Lawrence of Arabia was not a arthouse film. It was produced by an independent producer, Sam Spiegel, (who had built himself a little fortune during his time as an agent and a producer working for Universal) but also by Columbia Pictures who distributed the film afterwards and the budget allowed them to hire a huge cast. Even if O'Toole was unknown, Alec Guinness, Jack Hawkins, Claude Rains, Arthur Kennedy, José Ferrer and Anthony Quinn were known quantities, not only in England but also in America. They were big stars that you could only get together on a Hollywood-type budget, allowed by a big partner. And neither was 2001, that you also refer to (and many of the other films discussed in this channel, like Blade Runner or The Shining, etc). If you want to go on to make a broader statement that it was easier to get artistically ambitious on a big budget back in the 60s then now before because the overall system was closer to patronage, even with studio-produced films, with one big producer that would be the only real outside influence talking to one director very much in charge of his project, why not ? But let's not reconstruct history. Lawrence of Arabia, or 2001, were never arthouse. They were and remain great films, who changed the medium of cinema in significant ways, the product of great directors at the peak of their abilities. But they were big studios films in their inception. It is not because something is great and artistic that it has to be considered as arthouse. Arthouse does not mean greatness. It's just another market of films with other sets of expectation on a commercial level who happen to feed a lot of the festival market. Production-wise, Lawrence of Arabia has more in common with The Dark Knight than it does with Hiroshima mon Amour.
I know i'm being particular about one word that you used. But I take issue with the misuse of this particular word because it does reconstruct, albeit inadvertently, a historical reality concerning a medium that you and I love. By using the term "arthouse" in this way, you're actually, despite your best intentions, defending a brand rather than a reality, which is, I think, back to your words, what you would probably blame those who produce 'tripe cinema' for doing.
Hey, between us, who are those "reviewers" that you clearly destest?
@@tiaaaron3278 "teach even me..." pompous
“Lawrence” portrayed by O’Toole was the most complicated character ever in film. Masochistic forcing himself to cross that impossible desert, and sadistic as he finds himself enjoying killing the enemy up close and personal. He’s very effeminate yet tougher than all the macho guys he’s hanging out with, and they live in that unforgiving place.
Your correct about the portrayal, and I'm not trying to negate your comment, but in reality, Lawrence was scarred by the killings he committed in the desert. But yes, the portrayal is very complex as well as Lawrence himself.
This complexity of character, which doesn't treat the audience like children, is part of why I love the movie so much. It's brilliant.
The other great complicated character is Alec Guiness in Lean's other war film, Bridge on the River Kwai.
@@lordslamzer1403 You see something about film-Lawrence being "scarred" by his experience as well after he's been saved from imprisonment with the Turks (by Ali as far as I can remember). Unfortunately, most versions of the film do not show what actually happened between his getting imprisoned and being freed, so his condition at this point is not correcttly framed. It sort of comes out of nowhere.
In fact Peter O'Toole was too large to portrait TE Lawrence, who couldn't join the British Army as "short men" were refused, so TE started as a civilian before becoming a 2nd Lt-interpreter in London (October 1914). Finally as Turkey entered the War and Britain declared war, TE Lawrence and Capt Newcombe were stationed to Cairo - Egypt (December 1914).
never noticed him losing the compass, yet seen it 100 times. great catch.
he loses his moral compass
I always noticed and in the scenes afterward, I always had a sense that some follow-up event is missing here. But CinemaTyler finally made me see the significance, and I'm ashamed I could not figure it out on my own.
My grandfather (God rest his soul) was born before electricity came to his hometown in Newfoundland, Canada. Imagine how much he saw change in his lifetime. One of his most profound memories was seeing Lawrence of Arabia in the theatre. The colors, the vastness, the cinematography, the scale...
One of the best films of all time. I watch this film atleast twice every year.
Depressing... we traded the fairly reasonable Ottomans for the Saudi Arabians.
My favorite scene is Auda Abu Tayi proclaiming his benevolence for his people the Al Howeitat at Wadi Rum.
I am a river to my people!
my daughter knows how much I am enamored of this scene that she painted it in abstract for me. has any other actor had an entrance this amazing?
The whole film is breath taking, beautiful and unique. A cinematic master piece.
I had never seen it, then some years ago noticed a newspaper ad that a theatre was running it. I went. Amazing.
The splash initiates the tension and is a foreshadowing of the rifle crack.
My favorite scene of this movie is when he walks into the Canteen full to the brim with his fellow Englishmen who are all quietly watching him as he quietly walks up to the bar and asks for lemonade.
"He likes your lemonade." (I recall that line anytime I ever drink a glass of it)
My god, I'd love to watch Lawrence of Arabia in IMAX3D.
I believe that Lean might have been the first director to shoot the film in 70 mm, twice the width of the standard 35 mm. Thank goodness, after the disappointing experience of Todd-A-O/Cinerama where three separate cameras were used to create a 105 mm mash up which was projected by three separate projectors onto a gigantic curved screen and which was impossible to take in without dislocating your neck.
@@johnaron9926 Todd-AO used a single camera, it was only Cinerama that used 3 cameras.
@@johnaron9926 what about Abel Gance?
Lawrence of Arabia, Bridge on the River Kwai, and Doctor Zhivago are all awesome epics, and all have one thing in common.....David Lean!
And again for the magnificent cinematography of Freddie young and the music of Maurice Jarre the underrated Ryan's daughter".
You're missing brief encounter, a passage to India to the list
Well, they could all have two things in common if Omar had been able to pass for a Japanese colonel!!
Two of the three you mention (Zhivago and Lawrence) also feature the same Oscar winning composer Maurice Jarre.
Add Ryan's Daughter in there too. An excellent film
TH-cam is full of trite cinema breakdowns that are fluff or just opinion. This is a really solid film critique - insightful, well researched, and respectful. Bravo.
I just recently watched it for the first time. Straight through on Blu-Ray, instead of a scene here or there on a TV channel. I always knew it was a loved film, and now, you can count me as a fan also! I love the "Full" use of the wide frame.
I've never clicked a video so fast, I've been a fan of Lawrence of Arabia since I saw a special screening of it for the 4K restoration. Lawrence +Tyler = 💥
Same here. I had to watch all lean movies after this
I once saw Lawrence of Arabia in a cinema while on holiday(1970s) in Scotland. Watching this scene in 70mm with quality audio left a deep emotional impression on me.. Maybe when a 4K version becomes available I will be able to capture that moment again. Perfect cinematography.
A 4k version is available
I saw the 4k version of this movie at an AMC theater. You could see the very detailed grains of sand. The place was packed with people. It is always a profound experience to see this movie on the big screen. A feast for the eyes and ears when it comes to seeing great filmmaking.
I saw the 4k version of this movie at an AMC theater. You could see the very detailed grains of sand. The place was packed with people. It is always a profound experience to see this movie on the big screen. A feast for the eyes and ears when it comes to seeing great filmmaking.
The two greatest actors ever. We will never see their like again.
One of the greatest films ever made
Steven Spielberg went to David Lean when he as a nothing director starting his career. He told David how moved he was by LOA. Imagine then that for hours, David sat with Steven and took him through all the scenes one by one and explained how and why he shot them. Steven said it was like an artist explaining his brushstrokes.
Steven said that LOA is a work of art.
Spielberg first met David Lean while they were both flying on Concorde in 1985, so after he had directed Jaws and Close Encounters, ... Spielberg actually became a something director at aged 22 with his first big directing job, an episode on Night Gallery starring Joan Crawford.... he was 27 years old when he directed Jaws.....I don't really think there was any point in Spielberg's directing career where he could be described as a nothing director, he pretty much made a name for himself on his first job at aged 22.
This is only partially true. I believe he went through it scene by scene when they were involved with the restoration of the movie.
this was a pretty dope scene. but my favorite shot was after they blew up the first railroad. Lawrence was on top of the train, dancing in silhouette. he truly shifted essence at that point. he completely changed who he was.
that's my favorite too
The greatest masterpiece in the history of cinema.
Agreed...but then there is Spartacus...and Ben Hur...all three films are masterpieces. David Lean was a master director.
@@DrCrabfingers which one directed Ben hur? Wyler?
I recently saw this movie on the restored 70mm print from 1988. it was an amazing event and anyone who has the opportunity should pursue it.
1Happypiper the restored Lawrence and Die Hard 2 are the only films I ever stood in a long round the block line on opening day for. ;D PS first saw Lawrence at age 10 in 1962 when it first came out. And fell in love with Peter O'Toole ;)
I remember that! It played in San Francisco's major theater in Fisherman's Wharf in 1988. It WAS an amazing experience. IT was only 'adults', with no obnoxious teens or noisy children.
I also saw the '88 restored 70mm print when I was on leave from the Navy. It was at the Century City theater in a special engagement. I'd always been a fan of "Lawrence" since I'd first seen it on TV as a kid, but this was breathtaking. Just seeing all the detail in Phyllis Dalton's amazing costumes for the first time was incredible, as was so much else. The restored scene at the well was more than a closet film geek could have hoped for.
I remember at the intermission, there was a huge burst of applause from the audience(and this was a matinee show!), and I lost count of how many times I must have heard some variation of "They don't make movies like that anymore." And it's true. "Lawrence of Arabia" is my all-time favorite film, and quite possibly, the greatest film ever made.
As it should... in a glorious house.
"Who are you?". You can see it in his eyes that even he didn't know the answer by that time. What a great film.
the pistol that "returns" is an ordinary and common webley and was the sidearm issued by the british army, I believe, during both world wars. that he would throwaway such a weapon and have one "just like it" later is not surprising
I believe he was talking about it symbolically. The gun may be widespread used, but symbolically and narratively it serves a purpose.
It's symbolically used.
Again, nothing but great stuff. I like that you've zeroed in on one particular scene that I'm sure many would assume is important, but not as crucial as you've demonstrated. It's always been hard for me to believe that many of the major plotlines in this film were major embellishments of T.E. Lawrence's story, yet Lean manages to justify every single alteration.
T.E. Lawrence is the only historical figure whos biography made me like them less. This is a man of great talent who rejected it. He could have used his influence to really make a difference, but just used it to run away from himself. If it wasn't for this film he would now be all but forgotten, and I'm sure he would have preferred that. The Lawrence of this film bears only surface resemblance to the real person.
Thanks! I recently watched History Buffs' great video on the differences between the film and what actually happened-- really interesting stuff. It's interesting how the film seems to comment on its own embellishments with the funeral scene and the scenes with the journalist.
This MOvie is based on total Hollywood Bullshit, the Arabs did virtually no fighting, Damascus was captured by the Australian LIght Horse Brigade,
@@johnmacey2375 "HW bullshit"
Say hallauya brother .... Hollywood is in the 'entertainment business' & we can expect some artistic licence .... revisionism .... outright prefabrication .... to occur on a regular basis .... but what happens when HW turns history on it's head ?
Example : JFK .... SILKWOOD .... HURRICANE CARTER .... ect. .... Movies that leave a lasting evil impression on young impressionable minds .... For profits sake ? Sweet sleeping Jesus ....
Should be outlawed just as yelling "FIRE" in a crowded theatre is ....
What do you think ?
boy did I love this film. The cinematography and the soundtrack were amazing
The desert, the well, the water bag, the pistol and a compass - so many symbols in one scene. The sound of the water bag actually sounds something like a gunshot. It works so well since it would have to be Lawrence's guide who sees Ali first because it was already shown that his eyesight is better from spending his life in the desert.
The voice of the man on the motorcycle yelling, "Who are you?!" is David Lean.
The 'who are you' seen is brilliant, but what get's me every time is the bit just before; the shot of the ship going through the Suez Canal, like it's gliding along the sand as if it's a mirage.
Im gonna be honest i barely remembered this scene, for me, the most gorgeous scene is the Rescue of Gasim. Makes me cry everytime, whether i listen to the music or watch the clip, without fail. Probably one of the best most emotional scenes.
The Webley Mark VI top break revolver in .455 caliber was the standard sidearm issue for the British. They were retired in 1947. They are great fun to shoot.
That scene is always amazing every time i watch, just re watched this epic a few weeks ago and im glad there are those who can put together the back ground work and how they made it possible, thanks !
I love the lit match blending into the sun at the beginning.
Also, the way Lean caught the sparkle in the desert sand.
I saw LoA in a classic theater for its 30 year restoration. A fabulous work of art.
Fascinating. This is a film that needs to be seen full width, in the cinema. It's a fantastic experience.
I saw it whilst stationed in Gibraltar...there was an interval, and the cinema ran out of ice creams, everyone was "in" that desert......
In 70mm on an IMAX screen
Most beautiful film of all time.
+Ken Hudson Right?
Sir David Lean was a brilliant director and LAWRENCE OF ARABIA is one of my favorite films. Thank you for the analysis of this magnificent scene in the film.
One of many such classics that need be seen in a proper movie house, a good print, screen, sound in the glory it is due.
Saw "Lawrence of Arabia" at the Odeon, Leicester Square, when it was released in 1962 - what an experience! And "Doctor Zhivago" at the same cinema many years later. David Lean, in my opinion, was the greatest creator of the "epic" film.
Lawrence and Ali had so much charisma on screen
just watched this film for the first time yesterday, on screen and in 70mm. Absolutely unforgettable.
Man, i love your analysis. They are always so beautifully presented, thank you for dropping such great stuff on my youtube feed.
Brilliant analysis of the making of this classic film. There were more technical cinematic nuggets and character study in 10 minutes than you get in whole 2 hour documentaries.
What do I love about the cinematography in this movie? In the words of Lawrence, "It's clean."
I watched this film as a child and two scenes stayed with me, this and the ‘no prisoners’ charge. I found this very interesting and enthralling. Thanks for you efforts in making this. As an aside I found Mr Box’s voice incredible.
A very interesting commentary. I am over 70 and Lawrence of Arabia is, bar none, my favorite motion picture. I have always considered it to be one of the finest examples of cinematic theater. It has the ability to completely absorb you into the story, even when seen multiple times.
I first saw an unrestored version of this movie at a vintage downtown theater in Santa Fe, NM on the big screen and the place was packed of viewers. Same thing happened later again when the 4k version came out in 2019. I wish I could have been like the man I was talking to, who was seeing it for the first time in a movie theater the other day when LoA was being shown in honor of Columbia Pictures. I am happy when the movie starts, but sad when it ends, because the sublime experience of viewing it is over.
Very good job with this pivotal scene. Just one small but significant quibble: Lawrence participates in the massacre of the Turks NOT at the behest of Ali but over Ali's objections. Their relationship is never the same afterward.
Oops, just made the same comment.
The Cinema Tyler corrected himself, but I would add that their relationship wasn't that altered, as Ali offers Lawrence a garland after the success of taking Aqaba. Also perhaps because Ali realized all too well the tribal commitment prompting their compatriot's one-man charge to avenge the deaths of his village sealed their military response.
JP51ism the massacre in questions happens months after aqaba, when they’re on their way to damascus.
"If you answer, there'll be bloodshed."
"YOU speak to me of bloodshed?"
to me it was just a reflection of how lawrence had changed from the beginning, he critised ail for shooting his guide in the begining. then lawrence ends up engageing in killing fleeing helpless turks. simple cause there turks. he had become more barberas and crule than ali by that point. he was getting of on war mongering for the pure sake of it.
This picture made such an impression on me that when 40+ years later I watched a DVD of it I could quote whole passage as it played.
“The trick, William Potter, is not minding that it hurts.”
Attention to details is what makes me watch your new videos.
Cinematic masterpiece
Steve Spielberg: '...still the greatest miracle I have ever seen on film.'
Brilliant analysis. I shall be immensely glad if you could do an analysis of Omar Sharif's character in Doctor Zhivago.
Such an unbelievably good film.
The motorcycle messenger calling "Who are you?!". Absolutely sublime writing.
Being able to remaster and digitize these old films into HD and make them look better then the day they where released is one of the greatest things in the history of film. Maybe the greatest.
You have a knack for bringing outside sources into your videos rather than straight analysis. Thank you.
Perhaps the best character introduction in cinema. Sergio Leone acknowledged LoA as his inspiration.
Ive watche this movie over 40 times, still impressed
This one the best movies made in my humble opinion.
I can't believe I have just found this channel now, it is fantastic.
The points are all interesting but including background information & actual clips of the interview rather than just quotes is wonderful.
As someone else said these videos go into so much more depth than just analyzing what is on screen but the visuals, storytelling & all the work off screen that went into creating these films is incredably interesting & captivating.
I am going to work my way through all the videos on this channel but I refuse to binge watch as there are do many interesting points in each video.
I look forward to more quality content & hope others are fortunate enough to find your channel too.
This is WONDERFUL!!! Great job, as usual. Thanks for this great content.
This is the only movie showed us Arabs or some of Arabs (Bedouins) as we really are..
Anthony Quinn was a real Bedouin here, his acting as a Bedouin was great, if he spoke Arabic with Bedouin accent, I will not know he is Western
Ali AlShammary he was actually Mexican I believe.
chris leonard
His mother is Mexican, but his father is Irish
Wikipedia
Ali AlShammary Thanks, hence the QUINN :D. For sure I knew he was not Bedu :D
Mexican...Irish....a very combustible mixture there.
well, he is part Mexican, which means that he may have some Spanish heritage, which in turn means that he may have some Moorish dna, because spain was controlled by the moors for about 400 years.
3:05 - It's hard to let any mention of "Once Upon a Time in the West" go by without saying what an amazing movie this is, so: This is an amazing movie.
Such a staggeringly amazing film - and so well analysed - thanks !
Great video! This is an excellent analysis of one of the most famous scenes in film.
They could NEVER....EVER make a film of that QUALITY nowadays😔😔😔😔......
One of my favourite movies of alltime
Just finished this legendary film yesterday, I’m so glad that I found your channel so that some scenes make more sense to me now!
I'm so glad to have discovered your work
One of my fav movies.
Tyler. You broke down the meaning of the scene beautifully here. Good eye for cinematography (in this case, great cinematography) and storytelling here.
Well done, sir.
I really liked this video about what it took to shoot the watering hole (wadi?) scene, one of my favorite scenes of the whole film. In it I thought I heard you mention that the special Panavision lens that was used for Ali's approach from the mirage was 800mm. Something in the back of my mind jostled me into checking that as I thought I had heard differently long ago. In accordance to Panavision's website:
"What made the image possible was a 482mm telephoto lens with spherical optics created specifically by Panavision to meet David Lean’s vision. While it holds pride of place in Panavision’s Woodland Hills headquarters in California, the ‘David Lean Lens’ has not been used on any other scene in any other movie since."
Thanks for the video. I am looking forward to seeing more from you.
The webley showing up again makes sense to me because it was standard issue to officers in WW1.
Its not inconceivable that there would be many of these around .
Or an Enfield pistol.
Best British film ever made.
Without a shadow of a doubt.
Did you know Lawrence of Arabia was one of the main influences for Spielberg. See it here: www.filmfluence.com/directors/steven-spielberg/
Best Film and best Director Oscars. Should have been best lead actor too. Shame on Hollywood.
The best film EVER made. The greatest acting performance EVER in a motion picture. The greatest exhibition of cinematography EVER in a motion picture. Citizen Kane licks the boots of this movie. It's not just that it is great. It is 10X to 50X greater than the second greatest picture ever made. There will never be a motion picture greater than Lawrence of Arabia.
I gotta go with Carry On Camping
I love that you put "The Man Who Broke the Bank at Monte Carlo" at the end of the video. I've always remembered that scene where he sings it, but I've never remembered to look up the original song later.
I was just about to say that too. Charles Coborn was the singer. Check out his "Two Lovely Black Eyes" as well. A colossal hit in the 1880s!
After visiting Morocco and Egypt and riding camels I’m able to watch this film in its entirety and enjoy it. It’s a very big film and quite the experience
Fascinating, as always.
"and Lawrence takes the gun back when HE becomes the killer..."
Brilliant point!
Thank you for that key insight 👍
I just chanced across this video thanks to TH-cam's algorithm, and was left really impressed by the high quality of research and production. There are even references in the captions!. Outstanding job. Thought I knew a lot about Lawrence of Arabia, but clearly I didn't. I look forward to viewing more videos on this channel.
This was, and is, a technical masterpiece.
Awesome breakdown
Great work as always! I think its time for a rewatch of this.
That scene is way cool. Perfection for effect.
The dialogue in this scene is some of my favourite. Only the "I am a river unto my people" scene is better. I have always wondered what Saudi's think of Lawrence and this film. If he had tried harder, instead of running away and trying to disappear after the war, its possible he could have lessened the damage European powers caused. As they say big things have small beginnings. If he had done more back then, the middle east might be a very different place 100 years later.
Do you mean the crown family or Saudis people?
In Saudi , people have different opinions about Lawrence . Religiously motivated people see him as a spy who demolished the Islamic Ottman Empire . Arab nationalists see him as good friend who just served his own interest but which happened to be their interest too. Bedouins appreciate him. Some tribes named their sons after him although they have the name wrong , instead of Lawrence they say Awrence. In Arabia , Lawrence is still a controversial figure. However, you cant hate him. Actually I did not realize he was an English till later. I always thought he was an Arab. Lawrence was a good man after all.
I do think the film exaggerates that last 'reclusive' part of his life a bit. I remember learning later that he went to the Paris Peace Conference and did quite a bit to try to get Faisal installed as ruler of a pan-Arab nation (Faisal was eventually made King of Iraq -- somewhat artificially -- which if I'm not mistaken Lawrence had some influence in).
It all sort of continues a lesson found in the film - colonial interests don't care who you are or what you've done, they only care about what you can do for them.
Ebert wrote about this shot in the opening of his original review
Such a brilliant film, and it was robbed by To Kill a Mockingbird. If not for it, it would have swept the Oscars as it had no other competition. Definitely worth subscribing to see more like this video.
The forgotten man here is Andre de Toth, who is credited on the film as a "special consultant". For this scene, Lean told de Toth, "We need a miracle here." The details may be found in two books, De Toth on De Toth, and de Toth's terrific memoir Fragments From The Inside. de Toth was also called in on Superman when the special effects weren't working. As a director, de Toth's range was impressive. If you don't know him, look up his work.
Fascinating! Thank you so much - this is my favorite movie.
I just viewed Lawrence of Arabia on the big screen last night!
Amazing color, extra scenes
TCM showing these classics in theaters is a great idea.
Shawshank Redemption and
Godfather II are up next.
I love this channel.
Should have won more Oscar awards. May be the best film of all time!
I was fortunate to see this movie on the large screen when it first came out. We went down to a classic moviehouse in Pittsburgh. It was an amazing experience for a young kid.
Amazing film. One of my favorites of all time! Thank you for this superb video!! 🙏
My favorite Lean film. Thank you.
This is the true greatest film ever
I agree
Lawrence Of Arabia took two years to film, and in that well scene there is a close up of Lawrence which was shot back at the studios in England two years after location shooting in Jordan was completed. It is a small insert , lasting 5 seconds or so, and it is the close up where Lawrence shouts after Ali and says..." as long as the arabs fight tribe against tribe...etc"......you can see a significant change in the appearance of Peter O'Toole in that close up. O'Toole himself spoke about that in an interview on the Dick Cavett show, he recalls how he was 27 years old during location shooting at the well, then for the close up he is 29 years old, then after the studio close up it cuts back to the real location and he is 27 years old again!!! O'Toole said when he watched the completed movie he was quite shocked at the change in his appearance and it is evident to see that change when watching this sequence at the well. We can see a section of that close up at 6.54mins in this clip.