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Lawrence of Arabia, and please, form three lines...

Yando in 70mm:

RathBandu: Rolling Stones Disciple:
Line B, but on Tuesday I will be seeing this flick in glorious restored 70 MM at the Zigfield.

Hey, Rath, sorry to burst your bubble, but you did know that Lawrence's two week run at the Zeigfeld officially ended on Thursday 10/17, right? It's not playing here in NYC anymore....

Fuck me.
I was just seeing this thread. Maybe a little late. It is definitely line A for me. My favorite film of all time.
Meanwhile a few months later... I am still in Line A.

Maurice Jarre's theme has been playing non-stop in my head for days now. I am almost convinced that with this and Doctor Zhivago, he has cemented a place with the greatest film composers of all time.

Also, a pre-emptive "no prisoners!"-esque yell for the Superbit DVD release next month. I can't wait to watch all of the colors, the amazing acting, and Lean's spectacular direction all over again.
I am not only in Line A; I started Line A. This is the best film of all time in my opinion.
Line B....and yes, I own the DVD.
Line A, definitely. A true epic. "Nothing is written."
Line B. And Kid, since you've owned it this long and haven't watched it you have rescinded your rights of ownership and must mail it ot me.
line c... boooooorrrrring
I love the enthusiasm in this thread. Nostaligia!

I'll be back to discuss more in the coming days after seeing the 70mm print at the Egyptian.

In the meantime, anyone out there new to this movie? Or David Lean in general? Perhaps we can start something, but I need participants.
As John Galt points out earlier, one of my favorite moments (and there are many) from Lawrence, is when the Motorcyclist on the banks of the Suez yells out "Who are you? Who are you?" while Lawrence furrows his brow, listening. The fact that the motorcyclist was Lean himself yelling that out to the main character makes me smile, but it could also be a hard comment on Lean's artistic struggles with the film, his desire to understand what makes the character of Lawrence do the things he does, and a general comment on this masterpiece as a whole. I just love that parallel from the filmmaker to the character, and the scene leading up to it, in the broken down deteroriating house is shot so incredibly well that it makes me feel so unimportant when I think of how to make good scenes work.

The editing completely blows me away every time, and the fact that Lean and Coates use these hard direct cuts (match cut, I must find something honorable-cut-train wheels, They'll come for me-cut-car movement) shows how he's progressed as an editor, as a master filmmaker. Every single cut in the film works and serves a purpose. I see not filler shots, no cuts that make scenes drag out a little longer. Everything has its place to serve the narrative of the story.

It's amazing to see the transformation Lawrence goes through, especially in 70mm. To go from a hard charging almost dainty idealist to having his indentity go through these conflicting changes to finally become so disillusioned with everything, O'Tooles performance is one of the greatest ever, and it was a shame that he wasn't recognized at first. Coincidentally, I was thinking of drawing a parallel between what Lawrence says about his campaign to Allenby, something to the effect of "Johnny Turk won't even know what hit him, while he's mending his railways I'll smash 'em again before he even knows it", and I think this also serves a purpose to speak a little about the "inner" Lawrence, how he "smashes" what is inside of him, and by the end, realizes what has occured and how disillusioned everything has made him feel towards the world.

I suppose that's stretching a bit, and not quite explained fully enough, but I can't wrap my mind around this film's major sprawling themes, characters, points, editing, score, filmmaking. It's a huge movie, and I love the fact that it keeps making me see more and more new things every single time I re-watch it.

Consider me a permanent member of Line A.
I've seen this film five times. Watched it again today.

But I feel almost unworthy to talk about until i see it in the theater.

It's a film with that power.
I've seen the film once and I don't feel right seeing it again until I can see it on a big screen.
I always make time to see this when it is in 70mm, and fortune smiled upon me these past 5 times in these two different cities. It's not even my favorite film, but I will make time for it anywhere, anytime, anyplace.

Additionally, one of the things I keep noticing is how Lawrence of Arabia is essentially a man's movie (and might tie into what devin talks about earlier in this thread). Women are virturally non-existant throughout this film, and in the cases we do "see" them they are regulated into smaller roles that have little to no significance to the big picture. One of the first instances of women occurs in the streets of Cairo, but we don't get enough time to glimpse them. Secondly, when Lean tracks down from the shot of that little girl (but it could, I suppose, be a young boy, it is vague), towards Auda Abu Tayi and the dinner sequence, it's a short scene that could be interpreted the other way. Thirdly, when they are leaving Wadi Rum for Ackaba (spelling?), we only see the silhouettes of women, in tents, outside on the rocks, hollering their voices for the men, so in essence they are there to serve the purpose of the men in the scene. Next, we have the shots of the women outside of Damascus, before the triumphant yelling of "No Prisoners!", and we're regulated to seeing dead women, almost as if we're being subjected to our last looks of their presence in the film. Finally, one, if not the, last instances where a women is on screen is with the nurses when Lawrence is slapped and laughing hysterically. There's no dialogue, or even much movement, other than a hop out of a jeep, but her purpose is to save the people dying on screen, and I suppose it could mean as much.

I'm probably looking too deeply or not deeply enough into this, but Lawrence is such a masculine movie filled with so many conflicting tendancies, especially "inner" ones, that it creates an interesting paralell between the life being told on screen and the way Lean tells it.

Additionally, the scene that introduces Sherif Ali so marvelously uses and tells screen direction so well, that I am still in awe with the camera movements, the series of shots, and the way that it is all cut together. Simply stunning and masterly effective.
Line C.

I understand its place in film history and it deserves it there I suppose, but the film, for me, does not need more than one viewing.

I do appreciate Lean's cinematic eye. That kind of talent is certainly missed today.
Line A, naturally.

I'm currently reading "The seven pillars of wisdom", and I find it very different from "Lawrence of Arabia". It's a much more convential story which gives Lawrence a more down to earth tone. Apparently, he later changed his name to "Shaw" because he was embarrassed by the "Lawrence of Arabia myth".
I'm in Line B. Lawrence of Arabia has been shown on TV quite a fair amount of times, only once i have actualy sat down to watch it but ended up having to go out about half an hour into the film and this was about 2 years ago. I've almost bought it on dvd but everytime something else distracts me which is a shame as it sounds truely brilliant.
Line A for me please. I would have to say that this movie provides me with so many great moments every time I see it. It never gets old.

I've seen it in on the big screen (for my first time) and own two copies on DVD (Superbit and the original Columbia/Tri Star release). It's one of my treasures and I would never offer to show it to anyone that I didn't believe could appreciate it. Thankfully my wife loved it when I showed it to her.
Line A. one of the best movies ever made. quite possibly a movie I'd buy a Blu Ray player for (as it's owned by Sony, it will end up on Blu-Ray, I guess)
Line A, and anybody in C has just forfeited any chance of my taking their opinion on film seriously...
"Lawrence" is Lean's best film, but with "Zhivago" a close second and "Kwai" a Close third.
Line C is only occupied by penis keg and General Zod. I suppose that says something.
Line A, duh.
Line A. True masterpiece.
I like how this thread keeps coming back up from the depths.

Needless to say, I've worn out my Superbit DVD to death watching this thing. Sometimes it's just scenes to make me feel horribly unimportant, othertimes it's just because I'm in the mood for one of the greatest movies ever made.

For the "new" people for this thread, any sequences in particular that stand out to you?

Also, if you're in/around The American Cinematheque at the Aero in Santa Monica in the begining of February, they're showing this again in 70mm. It's one of those cinematic pilgrimages that you must take, no excuses!
"The trick, William Potter, is not minding that it hurts...

... when Jose and the Turks are gang-raping you into submission."

Bad joke aside, Line A.
I'm in Line D. The people who started watching it last night cuz they bought the dvd the other day, and fell asleep before the halfway mark of Disc 1. (I have the 2 disc superbit version.) My schedule sucks.

In honor of Mr. O' Toole, I thought I'd bump this thread.

If I were President, I would require everyone to own a copy of this Blu-Ray. One of the most gorgeous films ever, while also featuring one of the Top 5 leading performances ever. It's good, is what I'm saying.


Too right. I only saw it for the first time just over a year ago (The 4K re-release) and it was one of the great 'So THAT's what everyone was going on about!' moments of my filmic life. A great, great film which I still thank myself for seeing for the first time on the big screen.

AI got the chance to see it on the big screen myself a year or so ago and it was literally magical.

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