🎦 Lawrence of Arabia full movie HD download (David Lean) - Drama, Adventure, Biography, History, War. 🎬
Lawrence of Arabia
Drama, Adventure, Biography, History, War
IMDB rating:
David Lean
Peter O'Toole as T.E. Lawrence
Alec Guinness as Prince Feisal
Anthony Quinn as Auda abu Tayi
Jack Hawkins as General Lord Edmund Allenby
Omar Sharif as Sherif Ali
José Ferrer as Turkish Bey
Anthony Quayle as Colonel Brighton
Claude Rains as Mr. Dryden
Arthur Kennedy as Jackson Bentley
Donald Wolfit as General Sir Archibald Murray
I.S. Johar as Gasim
Gamil Ratib as Majid
Michel Ray as Farraj
John Dimech as Daud
Storyline: An inordinately complex man who has been labeled everything from hero, to charlatan, to sadist, Thomas Edward Lawrence blazed his way to glory in the Arabian desert, then sought anonymity as a common soldier under an assumed name. The story opens with the death of Lawrence in a motorcycle accident in Dorset at the age of 46, then flashbacks to recount his adventures: as a young intelligence officer in Cairo in 1916, he is given leave to investigate the progress of the Arab revolt against the Turks in World War I. In the desert, he organizes a guerrilla army and--for two years--leads the Arabs in harassing the Turks with desert raids, train-wrecking and camel attacks. Eventually, he leads his army northward and helps a British General destroy the power of the Ottoman Empire.
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All Around Perfect!
Lawrence of Arabia is said to be the best epic ever made and I understand why. In order for an epic to succeed, it has to hold the viewers' attentions throughout the film. Of course there can be moments of down time, but every movie has that. Lawrence of Arabia not only holds attention, it feature everything to make a great movie at all-time heights.

Lawrence of Arabia is easily the best movie made about the First World War. Being the best epic is arguable, but there's only a margin of movies about WW1 and none are simply better than this. Newcomer Peter O'Toole is dead-on as Thomas Edward Lawrence--a role many people say he should have won for instead of Gregory Peck in To Kill a Mockingbird. If O'Toole did win, the backlash would be the same. I personally liked O'Toole and Lawrence of Arabia more. Lawrence is a hip and cool soldier who wants adventure and is assigned to help Arabian tribes face the Turks. He unites the different tribes and leads them to victory. Throughout the movie are beautiful images of the sun clearing the sky in the deserts of the middle-east with glamorous music. Watching this movie is like looking at an ocean sunset. No matter how many times you see this or how bored you get, you will not be able to take your eyes off this.

Anybody that does not like this obviously misses the underlying themes and characterizations. As I mentioned, O'Toole is captivating. But everybody else is amazing too. Alec Guinness plays Bedouin Prince Feisel who was actually mistaken by residents for the real prince. Lawrence is a complex, multi-layered character who is one of cinema's all-time greats. He is a rebellious misfit who brings his theories with him to Arabia. Seeing it is his biggest challenge, he tries to become one with the army while still keeping his own self. Lawrence is an idealist. When he turns out to be a success, he lets it all get to his head and his ego grows. He unites the tribes and leads the men in courage than only he could give. We understand why Lawrence becomes vain, but still want him to keep his general humility. When a tragic situation changes his whole perspective, he wants out but his influence brought them far. That is where the themes of inspiration and leadership/influence really soar. Despite a terrible trauma to him, he still stepped up with the aide of people he once inspired to fight. He gained everybody's loyalty and friendship--two crucial things the movie is about. Just one man whom everybody doubted created such a bang and legacy that forever changed history. When the war finishes, unity breaks with disagreements but there is still some peace among the groups. I found that to be realistic instead of a picture- perfect happy-ending where everybody becomes best friends.

I wouldn't say Lawrence of Arabia is sad entirely, there's just one depressing scene. But it is not happy either. It is all fully realistic and we have characters and situations where we can be proud of. The movie succeeds in everything it tries to get across, which is more than enough. Literally everything this movie has is perfection.
Exotic and grand, for reasons I can't fully explain
Recently I was told I have attention deficit disorder, which admittedly, wasn't too much of a shocker. Over the past few years I've found more joy in short films than the longer ones; hence, why I loved the Canadian show ZeD since it featured lots of short films. I also watch some TV shows where episodes are only 20-22 minutes long. I enjoyed The Dark Knight (2008) but thought it was a bit too long- two hours and twenty minutes. Then there's Lawrence of Arabia (1962)- almost four hours long! Yet the movie is good enough that I actually don't resent it for its length. I don't think I'd cut anything from it. I'm not sure if I've seen it in one sitting, but it's actually compelling viewing.

The film is set in World War I with the British hoping to undermine one of its enemies, the Ottoman Empire (here mostly called Turkey), by assisting the Arab revolt against it. The British officer TE Lawrence (played by Peter O'Toole) particularly becomes committed to giving the Arabs their freedom- even from his own people, the British. He leads Arab warriors to some victories over the Turks.

Lawrence of Arabia won the Oscar for Best Picture and the American Film Institute twice ranked it as one of the top ten best American films ever, although Lawrence of Arabia is typically considered to be a British movie. Still, it is deserving of the praise it gets. Maybe for cinematography, but I've heard that's really most impressive on the big screen. I've only seen it on my small TV and laptop, so I can't say that's really why I enjoyed the movie, although I did find the setting exotic. I'm not totally sure what the message of the movie was, and sometimes I found some of the scenes difficult to understand. But I am particularly interested in history, politics and war, and I guess that probably explains a lot of the film's appeal. Lawrence of Arabia captures the subject of achieving greatness. This includes a single man becoming great, with Lawrence becoming a hero to the Arabs and an inspiring figure to the British and Americans (through media attention), and with Prince Feisal becoming a king. O'Toole plays Lawrence in an interesting way, with emotion and conviction. Feisal, an Arab, is played by Alec Guinness, who is decidedly not Arabic- but he plays the part well, giving the character a feeling of power and wisdom. It also includes the story of how a people became great- Lawrence calls the Arabs a "little people" at the start of the movie, but they're not by the end. Perhaps it can be said Lawrence achieves greatness by finding his place in the world, among the Arabs, showing one can find one's place in the world anywhere. But he does leave Arabia at the end of the movie. Maybe he was one of those unfortunate people who couldn't find his place anywhere. This movie, however, has a definite place in cinematic history.
This crazy Limey nobody digs but you've got to admire his sand
"What's your favourite film, then ?" A dread unsettling question. But if harried by the Turks, say, I'd probably have to admit to this one - while agonisingly conscious of all the other favourite films being elbowed aside. And I write as one not overly enthused about Lean's other epic ventures. RIVER KWAI I find offensive for its wilful neglect of real p.o.w. horror in favour of smugly cooked-up ironies and hack-platitudes. ZHIVAGO is undermined by hollow leads chosen only for their beauty, RYAN'S DAUGHTER is insanely overblown soap-opera while A PASSAGE TO India collapses halfway through when the thread snaps and we're just watching the actors tread water. But LAWRENCE, for me, is the real deal, a bewitching tapestry so successful at what it sets out to achieve it's almost incredible. Gobsmacking to watch and a delight to listen to it makes you feel thrilled that movies were invented.

Sure, it plays games with history. "It's not the real Lawrence, of course," Lean admitted on the box. Quite so. The real Lawrence would require a mini-series or, at the end, a chamber-drama like Anglia's excellent TV film of the Nineties with Ralph Fiennes. The massive river of events, intrigues and personnel as recorded by Lawrence himself (though questioned in some quarters) has been simplified here, channelled into a tributary of pertinent moments and symbols, a loner's odyssey, with key support figures marginalised strategically along its banks. The true extent of Lawrence's role as an Imperialist agent did not begin to be disclosed, officially, until the end of the Sixties. To suit the film's left-wing leanings and better engage with the mass blockbuster audience he's depicted initially as politically naive, an amusingly bumptious misfit with a classical education packed off into the desert, via a wily politico, partly to get him out of the hair of his C.O. who has little faith in him or his mission to foster Arab unity against their Turkish overlords ("A sideshow of a sideshow !"). That celebrated cut from the blowing-out of a match to sunrise on the desert sweeps us literally into a new world (and still does). Lean's staging, Young's photography and Jarre's surging music combine to breathtaking effect. The winsome weirdo who enjoys preening himself and teasing his own flesh is tested against lethal tribal-rivalry but fires them with a bold vision - the taking of Akaba, a sea-port undefended on its landward side. During the long trek to this objective one of his men is lost in the desert. Lawrence goes out of his way to reclaim him, earning the respect of all and they clothe him in the robes of an Arab chieftain. (In real life this was a more pragmatic suggestion from the Brits). A further rite of leadership arises when he takes it upon himself to execute a man for murder, preventing an inter-tribal war. The man he kills is the man he saved (a deft juxtaposition of two separate incidents in real life involving different people). Lawrence is later to confess to his new C.O. that he enjoyed the experience.

Akaba is successfully taken (in a stunning panning-shot) and Lawrence begins to make a name for himself. He gets promoted and becomes a guerrilla-leader in assaults on the Turkish railway. But a turning-point comes when he's captured by the Turks on a reconnaissance, is flogged and (possibly) raped before being released. His bodily integrity shattered he's further disillusioned to discover (in the film) that the promise of independence he's been peddling to the Arabs is a stitch-up to conceal the colonial interests of Britain and France. The self-hurting he once indulged in now penetrates too deeply and the self-image become abhorrent. His request to stand down is refused, he's too important now, and in bitterness and despair takes part in a revenge-massacre of retreating Turkish troops. When Allied victory is secured he's sent home, leaving the politicians to sort things out. While this makes for a fine symbolical end to the drama it also constitutes the film's biggest distortion of history. Prince Feisal effects to dismiss him in the movie while in real life Feisal needed him more than ever in the battle for nation-rights at the Versailles Peace Conference. Feisal, the real fall-guy, was treated very badly by the Europeans and only Lawrence's active intervention as his spokesman won him concessions. It's good that we now have the Ralph Fiennes film which rectifies the record.

Robert Bolt's quirky brilliant dialogue, for Lean, tends to short-change some of the characters, reducing the stature of Allenby and Sheik Auda in a generally cynical view of motives which spurred their descendants to seek redress from the film-makers. At the same time it's all wonderfully entertaining and impeccably played by a sterling cast. Omar Sharif showed potential he never has since. And though Lawrence was never really an 'innocent' Peter O'Toole riding the whirlwind with his piercing charisma (and newly-sculpted nose) has an iconic power that will live in movie-history forever - like Sir David's film the likes of which cannot be replicated now that computers have taken over much of the adventure and the excitement. One last thought - the real T.E. archaeologist and map-maker was involved in re-drawing the map of the Middle East with all its volatile consequences through the 20th century and beyond. The final irony indeed.
A long epic... unlike this review
Wow, a great epic movie. L of A show's T.E Lawrence, not purely in a heroic light, but the complex figure the man was.

Lawrence was a confident leader of men, but also arrogant & naive, the last two qualities becoming more evident as the film wears on.

The Acting in this film is brilliant, especially Peter O'Toole & Omar Sharif. A film that is a must see for all film lovers.
Torture/Rape sequence
Lawrence of Arabia is probably my all time favorite film. Right now I'm right on the cusp of finishing Seven Pillars of Wisdom written by the historical Lawrence. What I found interesting in the film was the scene in which Lawrence is captured by the Turks and whipped for punching the Officer. But in the book, Seven Pillars, the officer actually captured Lawrence in order to solicit him for sex, whereupon Lawrence kicked the officer in the groin. The enraged officer then has Lawrence whipped for not pleasuring him, and proceeds to have sex with a Turkish sergeant. I found the contrast between book and movie interesting, but rather necessary for the generic film audience of 1962.
If you can find it on the big screen - that's the way to see it!
This film should be viewed in a big cinema on a big screen. That really is the only way to truly "feel" the desert scenes in this film beautifully photographed by Fred A. Young.

This film has influenced so many - Steven Spielberg, Martin Scorsese, James Cameron, etc., etc., but most of all film restorer Robert A. Harris. Mr. Harris along with Jim Painten, brought the film back to life with the magnificent 1989 restoration and director's cut watched over by Sir David Lean and Anne V. Coates, the film's original editor. It is a MUST for all film buffs.

Although the film is over 40 years old, being a period piece it doesn't date. The film re-creates the stiff formality of the British Military of the First World War very nicely bringing to life the pompousness of General Murray, a type not likely to be encountered by today's generation. The odd quirkiness of Lawrence and his many hang-ups are depicted as only O'Toole could have created the character.

The DVD is pretty crisp and clear infrequently revealing the age of the celluloid. It is very exciting but no television can match the awesome landscape created in a large format cinema equipped with real 70 mm projectors. If you have the chance, see it there first (and often, if possible).
A Vision that Defines Itself
A man has an inner drive that makes him peculiar and intense. He goes to the desert and falls in love with it and its people. Gaining powerful sponsors, he has a grand vision that he accomplishes by inspiring and directing thousands. But in a very short time, that grand work is compromised and disassembled by fat cats in offices who are concerned with different values.

True of both Lawrence and Lean. The legacy of Lawrence is still in violent disarray (I write this a short time after the Sept 11 attacks on New York). But Lean's vision was saved, and what a vision! Of this picture, it can be said that it is perfect if only because it is so visionary that it defines its own rules.

Lean's vision is also lean, with vast zones of sonic and visual silence -- several meditations on the unperceived. Though there is a story (who are you?) this is really a film of TE's 'Seven Pillars,' which creates a romantic vision of sculpted natural forces. So powerful a depiction that Islam experienced a faddish attraction in the West, a place now enjoyed by Tibetan Buddhism. That was before.

See here the original Obiwan, every intonation, movement and dress. See here Peter O'Toole's personality become completely entwined with the character, who is as fictionalized by our eye as by Lowell's. See the most expressive, anthropomorphic train wreck in history.

Watch a particularly interesting brand of acting by the 'Arabs.' Macho men are acting anyway, so an actor can play an actor when he lands such a role.

The star of the film is the clever eye of God, not the clockmaker or judge of the west but the chess player of the mirage. Its face is clearest in my mind when the Turk holds TE down for torture and smiles. Its hand in the creaking of Feisal's tent -- who would ever imagine the wind acting? (Kurosawa's 'Ran' at the beginning is the only other example I know.)

I have a few films I admire for various. mostly intellectual qualities. But in the direct matter of visual storytelling, this one tops my list.
An epic journey through the desert
This movie is based on the life of T.E. Lawrence.It shows us his Arabian adventure on a camel in the desert.It goes through his battles.Lawrence of Arabia (1962) is David Lean's long classic.It won seven Oscars, including Best Director and Best Original Score (Maurice Jarre).Peter O'Toole is amazing as Lawrence.He would have earned an Oscar from his performance, but he only got a nomination.It's a real shame that to this day the man has not won one single Oscar, only an Academy Honorary Award in 2003.And he has been nominated eight times! The rest of the cast is superb as well.Alec Guinness plays Prince Feisal.Anthony Quinn portrays Auda Abu Tayi.Omar Sharif portrays Sheriff Ali.José Ferrer is Turkish Bey.Claude Reins gives the portrayal of Mr. Dryden.Arthur Kennedy plays Jackson Bentley.I.S. Johar plays Gasim.Farraj and Daud are played by Michel Ray and John Dimech.There are many memorable scenes in the movie, one being where Lawrence executes Gasim.And Daud getting killed to a quicksand.Or Lawrence's torture scene.Lawrence of Arabia is a classic not to be missed.
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.
Beyond Superlatives
If ever a movie earned the definition 'epic', then 'Lawrence Of Arabia' is it. In an age when sumptuous set-pieces can be effortlessly conjured-up by computer programmers, this truly authentic feast of cinematic vision still possesses the power to blow your mind. This is the real thing. The wide-sweeping vistas of desert wilderness are not special-effects; they are REAL. And they look real. Long views, sweeping pans and takes sustained over minutes are realised with a clarity, colour and vividness that absolutely melt your heart. That imagery is a more believable conduit to this complex man's evolving obsession with Arabia than the narrative itself.

Every scene is a breathtaking study in light and colour, character and dialogue. Every second is worth seeing and every word worth hearing. And its theme music is as iconic as the man himself.

The inimitable Peter O'Toole with his blonde hair, steely-blue eyes, haunting expressions and mood swings, commands your attention in every take. His Lawrence is a man swallowed up by a personal sense of destiny, striding between his cynical and prosaic taskmasters and a doomed belief in what might be achieved with superhuman effort. Omar Sharif never played a better role as foil to his capricious hero. Unusually, there are no leading ladies. And they're certainly not needed. A love interest would have cheapened the entire presentation. Here is a story about the romance of time and place. As that other great Arabian traveller and admirer of the ideal - Wilfred Thessiger - once remarked; "women spoil everything".

This is a long movie. Those with short attention-spans raised upon sausage-machine editing are doomed to find it dull, tedious, boring, slow and all of the other criticisms that fall from the lips of a generation accustomed to x-box action sequencing. But if you are blessed with a longer vintage, then Lean's masterpiece will swallow you up as surely as the desert itself.
📹 Lawrence of Arabia full movie HD download 1962 - Peter O'Toole, Alec Guinness, Anthony Quinn, Jack Hawkins, Omar Sharif, José Ferrer, Anthony Quayle, Claude Rains, Arthur Kennedy, Donald Wolfit, I.S. Johar, Gamil Ratib, Michel Ray, John Dimech, Zia Mohyeddin - UK. 📀