#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – Due to his knowledge of the native Bedouin tribes, British Lieutenant T.E. Lawrence is sent to Arabia to find Prince Faisal and serve as a liaison between the Arabs and the British in their fight against the Turks. With the aid of native Sherif Ali, Lawrence rebels against the orders of his superior officer and strikes out on a daring camel journey across the harsh desert to attack a well-guarded Turkish port.
Plot: The story of British officer T.E. Lawrence’s mission to aid the Arab tribes in their revolt against the Ottoman Empire during the First World War. Lawrence becomes a flamboyant, messianic figure in the cause of Arab unity but his psychological instability threatens to undermine his achievements.
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|8.3/10 Votes: 269,166|
|8 Votes: 1984 Popularity: 26.896|
Still my personal favourite
I first saw this film on its release, aged 13, and it forms an important part of my transition towards adulthood. I am pleased to see that it consistently rates 20something in the IMDb listings, even from others (whom I envy, for I can’t see it with fresh eyes) who are seeing it for the first time. Pleasing too is that some of those are also teenagers, for whom a forty-three year old film must itself seem part of the past. As for the minority who are bored by intentionally slow pacing (and for whom punctuation, paragraphing and grammar are a lost art), I suggest they learn a little about the history of film-making (from which it may become apparent that much of today’s fast editing techniques were invented in the 1920s: try Eisenstein’s October, for example).
From the universally admired cinematography of Freddie Young, the long shot of Omar Sharif’s floating mirage entry, the pre-CGI battles and pan-up scene changes, to O’Toole’s florid but career-defining performance and the (then) novel time-shift narrative, this film set standards not matched even by Lean himself, and, as many reviewers have commented, financially and practically unlikely to be attempted today. I too have rarely seen such clarity of image outside of Imax, and in my view the script by Robert Bolt (and I now have learnt, an uncredited Michael Wilson) is the finest in cinema. Maurice Jarre’s music and some of the acting style now seem a little excessive, but repeated viewing (around 35 times in my case) does not diminish the impact and quality, and the restoration and now DVD release still, after all these years, approaches the effect of that first 1962 viewing.
It is rare that repeated watching of a film (as opposed to a live performance) does this, and the reasons go beyond the photography, performances and editing. In my opinion, it is because the characterisation and storytelling encourage an appreciation of the ambiguity and inconsistency behind our motives and behaviour, and, in a wartime scenario, in the contrast between political expedience and personal morality. For a 13-year old, this opened a window into the adult world, and it explains why the story has resonance far beyond its setting. The film doesn’t require an understanding of middle-east politics (though it does have some very current relevance), but it does require an ability to look, listen and understand. The fact that so many people rate it so highly says everything about its wider impact. When The Matrix and even Lord of the Rings have slipped out of the ratings (and the adolescents who inhabit these pages have grown up), I believe this film will still be in the 20s or 30s, perhaps enabling young people to once again see the world through adult eyes.
Like Ali, I fear Lawrence. I fear the power of art to change us, to challenge our preconceptions. Every time I see this film I learn a little more, discover something new. When I was 13 I didn’t understand much, but this film helped me to see that I wanted more, knew more, than my peers. I can’t rate it more highly than that.
The Very Best Scene of All Time
LAWRENCE OF ARABIA, released in 1962, is one of the best motion pictures ever made. Be that as it may, LAWRENCE OF ARABIA contains one particular scene that is my favorite out of all the thousands of movies I have viewed over the past 50 years. To my mind, this scene is the most beautiful, most joyous and wonderful cinematic experience.
So I would like for you to experience this scene from LAWRENCE OF ARABIA as well, but you must do the following. Watch it on the biggest and best screen available to you, turning up the sound to movie theater volume. Additionally, the scene won’t be appreciated unless you watch LAWRENCE OF ARABIA from the very beginning, including “The Overture”.
The scene begins at night, just before sunrise. Lawrence and his “army” have succeeded in crossing the “sun’s anvil” portion of the Nefud desert. Lawrence then notices there is a camel with no rider. It is Gassim’s camel; perhaps Gassim fell asleep and fell off the camel and could not catch the camel in time to remount? Lawrence decides to turn back and rescue Gassim if that is the case.
This is where the scene begins. It ends when Lawrence, completely exhausted, looks at the ground and falls onto a mat into a deep sleep. Everything that happens in between is the most enjoyable piece of cinematic art I’ve ever seen and is now there for you to discover and enjoy. This is all I will reveal.
Original Language en
Runtime 3 hr 7 min (187 min) (re-release) (1970) (UK), 3 hr 22 min (202 min) (theatrical) (cut) (1962) (UK), 3 hr 42 min (222 min) (premiere) (UK), 3 hr 48 min (228 min) (restored) (1988)
Genre Adventure, Biography, Drama, History, War
Director David Lean
Writer T.E. Lawrence (writings), Robert Bolt (screenplay), Michael Wilson (screenplay)
Actors Peter O’Toole, Alec Guinness, Anthony Quinn, Jack Hawkins
Awards Won 7 Oscars. Another 23 wins & 14 nominations.
Production Company Horizon Films
Sound Mix 70 mm 6-Track (70 mm prints), Mono (35 mm optical prints), 4-Track Stereo (35 mm magnetic prints), Dolby Atmos
Aspect Ratio 2.20 : 1 (70 mm prints), 2.35 : 1 (35 mm prints), 2.20 : 1 (negative ratio)
Camera Mitchell BFC 65mm camera, Super Panavision 70 Lenses, Mitchell FC 65 Model, Super Panavision 70 Lenses
Laboratory Technicolor, London, UK (color)
Film Length 6,093 m (35 mm), 7,616 m (70 mm)
Negative Format 65 mm (Eastman 50T 5250)
Cinematographic Process Digital Intermediate (4K) (2012 re-release) (2020 remaster), Dolby Vision, Super Panavision 70
Printed Film Format 35 mm (anamorphic) (Eastman), 70 mm (Eastman), Technicolor Dye Transfer prints (35mm, anamorphic), 16 mm