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| What do you mean "no outside snacks"? |
I've spent a lot of time analyzing the film lately, so let's not waste time doing that. This post will be mostly personal, with some discussion of its technical presentation. After all, you don't see your favorite movie in theaters every day.
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I was ecstatic, to say the least, to hear Lawrence would get a one-day theatrical release. As early as August I started making plans. Any theaters within ten hours' drive showing it? Yes, the AMC Loews at the Homestead Waterfront! Now can I get off work in time to see it? Should I bring friends? Would a meteor strike Pittsburgh that day?
I convinced three friends to join me, with varying degrees of enthusiasm. I purchased our tickets a month ahead of time. I managed to convince my employer to let me leave work two hours early. I even printed an event t-shirt from Cafe Press. Needless to say, it was a big deal.
October 4th was an immaculate day: sunny, low 70s, fall foliage dotting the landscape. I arrived with my friend Greta at the Waterfront around 6:00. There we met Pittsburgh denizens Joe and Dan for a quick supper. Inevitably, we argued about politics for awhile while scarfing down Bar Louie boneless wings. Unfortunately, supper caused us to be a mite late and we settled for left row seats. The theater was surprisingly full, the audience divided about even between older viewers and 20-30 year olds.
Fandango treated us to several "special features." First an interminable featurette by Martin Scorsese, which managed to blow every big shot, memorable line and plot point in about ten minutes. Even having seen Lawrence many times I resented it. Then some vintage newsreels and a short Omar Sharif introduction. Then the Overture came crashing down and the film began.
First, the restorers did a fine job. Projected in 4K digital, Lawrence really shined. Almost every shot was clear, colors and details jumping off the screen. I appreciated many details I'd missed before. The first helicopter shot of the Arab army on the move, barely making out the camels' tiny legs. Lawrence appearing as a black pinprick when returning with Gassim. The richly ornamented walls, with Roman statuary and Grecian wall murals, in Allenby's Jerusalem HQ. A mounted Arab riding into the town hall amidst the chaos. Anthony Quinn's unfortunate nose. These observations incomparably enriched my experience.
Details are one thing: the overall experience another. I've always enjoyed the desert photography aesthetically, for its beautiful composition. Seeing it in theaters though was a revelation. Lean's mis-en-scene of impassible sand flats, vast craggy canyons looming overhead, and ever present sun prove powerfully immersive. My jaw dropped on the Wadi Rumm reveal: the blaring music, the mammoth red cliffs and the endless expanse of tents. Needless to say the battles were amazing, especially the charge through Aqaba.
A few gripes, some probably the theater's fault. In a few scenes, the frame seemed either cropped or compressed. The soundtrack sounded dim in spots (though not during action scenes, thankfully). In a few scenes (but not many), there was some fuzziness in background details. The day-for-night scenes also seemed over-corrected. Some of the awkward edits and splicing from the '89 restoration remain, especially Bentley's introduction. These were very minor blips though in an otherwise impressive showing.
Watching Lawrence with an audience was something else. I've always watched this movie alone, or with my dad on one occasion. Lawrence invokes feelings of near-religious contemplation, interrupted by bathroom breaks. My general reaction is one of awe and amazement, being bowled over by beautiful photography and brilliant acting.
An audience, on the other hand, wants to be entertained. Initially I was concerned as my fellow viewers laughed and as my friends talked next to me. As the movie went on though, I realized everyone else was engaging with it as they would The Avengers or The Dark Knight. Groggy got the hint: lighten up and enjoy the show.
Certainly the audience enjoyed it. They laughed at all the right moments: Lawrence's sparring with General Murray, Auda's reaction to Lawrence flouncing in his robes, even some of Farraj and Daud's antics. Some scenes did inspire the expected awe, especially Ali's entrance at the well. From their reactions (and chatter during intermission), one could tell they liked Lawrence, were immersed in the desert and enjoying the adventure.
As the second half got darker the audience shifted accordingly. The Deraa scene stood out in this regard. Its plot importance (and Jose Ferrer's marvelous acting) aside, it's not the scene that comes to mind when I remember Lawrence. Yet for the whole five minutes you could hear a pin drop. I can't remember experiencing such palpable tension from any scene in a theater. There were audible expressions of shock and disgust during the massacre, especially Lawrence gazing at his blood-soaked dagger. One really registered the ending mixture of tragedy and emptiness, too.
My friends certainly enjoyed the film. They were intrigued enough to pepper me with questions about the movie's accuracy and clarify Lawrence's motivations (so much as anyone could). Most of their favorite scenes came from the first half: Ali at the well, Gassim's rescue, the charge on Aqaba. Dan seemed intrigued by the military/political aspects, while Joe appreciated the desert scenery and symbolism of Lawrence's costume. Greta noted the movie's lack of romance and its thematic depth. They did however criticize its portrayal of the Bedouin.
All named Lawrence as a major factor in their enjoyment. Remarking on the last scene, Dan noted the tragedy of Lawrence's inability to join Arab culture or fulfill his dreams. Greta found Lawrence's complex and enigmatic personality the movie's most memorable aspect. I'd imagine Lawrence's fascinating protagonist accounts for its enduring popularity as much as its spectacle.
In sum, I'm happy to have finally seen Lawrence of Arabia in theaters: scratch one item off the list. Additionally I'm glad to see it has the power to move a contemporary audience, enough for them to applaud over the end credits. I overheard two college-aged girls, of all people, saying "they don't make movies like this today!" I couldn't agree more.
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That concludes this round of Lawrence-related articles. I thank my readers for indulging me the past few weeks; if you've learned something through these posts, all the better. Stay tuned for insights and reviews of other films soon.
PS: If any readers saw Lawrence on Thursday, please share your experience in the comments section!
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