David Leans film Lawrence of Arabia - Term Paper Example

? Lawrence of Arabia: Analysis David Lean’s film Lawrence of Arabia is today recognized as one of the 20th century’s greatest works of artistic production. The film is epic in scope and production, as it follows the life of T.E. Lawrence as he makes an astounding impact in Arabia during World War I. Particular emphasis is placed on Lawrence’s participation in attacks on Aqaba and Damascus, as well as his involvement in the Arab National Council. Within this overarching narrative, the film further explores Lawrence’s complex and oftentimes conflicted identity and perspectives. The film would go on to claim an Academy Award for Best Picture, as well as an extensive array of other awards.1 Even while the film gained great critical acclaim, one considers that the film undeniably is of first class aesthetic quality. Through a consideration of criticism, perspective, and my personal opinion, this essay examines David Lean’s film Lawrence of Arabia. The film opens with a truly epic credit sequence. While the film title and credits remain static the epic music and slow paced editing indicate to the viewer that the film is going to be expansive and truly Earth moving. Following this credit sequence, however, is a scene where T.E. Lawrence is riding on a motor scooter along a narrow road. The filmmakers implement a cinema-verite style means of articulation, as bumpy shots of Lawrence on the motorcycle are counter-posed against point of view shots from his perspective. Critics further argue that Lawrence’s lack a helmet intensifies his characterization as wild and potentially reckless.2 The scene itself serves to act as juxtaposition from the slow-paced credit sequence, but also seems to function as a metaphor on Lawrence’s life. In terms of the metaphor it demonstrates the Lawrence chose to live hard and fast; in fact, Lawrence’s life ultimately ended in the same way this scene concludes – death in a motorcycle accident. The following sequence contains a reporter interviewing a number of people regarding their perspectives on Lawrence’s life. The variety of perspectives given seems to function as a means of creating viewer suspense for Lawrence’s impending story and attempting to crack into the expansive nature of its magnanimity. In the next scene Lawrence is featured writing on a map. It is here that, in a sense, the actual story begins. The film then explores the meeting that leads to Lawrence’s transfer to Arabia. While from a strictly narrative standpoint the information in this scene could be explained in a simple sentence, the scene holds the viewer’s interest through the strong and engaging acting and character dynamics. Indeed, this will become a one of the prominent structural elements that drive the narrative and viewer interest. This scene is followed by a shot of the Arab sunrise. This shot demands further consideration, as it is both expansive and exquisite. One considers that the film’s widescreen format functions as a means of allowing the capture of this transcendent image. In addition to fitting thematically into the film’s epic scope, it operates as a powerful interlude between the Western capital model of organization and what could be considered a more desolate, yet firmer connection to natural being evidenced in the Arabian desert. One considers the ancient Muslim tradition of praying towards the Sun, as well as endless mythology that figures the Sun as a central aspect of spiritual existence; in this sense the scene transcends the film’s narrative elements for a deeper sense of spiritual purpose. One considers that later in the film there are perspective shots of the Moon and surrounding stars. The effect seems to be a general linking of the film’s infrastructure to the timeless and transcendental qualities of the universe and nature. Still, in terms of the narrative this shot functions as a pivotal transition between the aforementioned Western culture and that of the Middle East. This clash of perspectives will become of the film’s central thorough-puts as Lawrence ventures throughout this culture. These scenes cuts to another desert shot with two men riding camels in the background. The two men on camels function as a means of further demonstrating the expansive nature of the environment, as well as the film’s epic approach. Throughout the film, evidenced in the film’s beginning, is an approach that is more aptly compared to classical music than to narrative discourse. The early scenes themselves unravel with minimalist exposition, instead allowing the pace of the editing to dominate, much as music eschews conceptual discourse for an emphasis on pace, emotion, and harmony. As the film progresses it gradually abandons this minimalist structure as increasing amounts of characters enter the foreground. One considers that such an approach is akin to classical symphonies that gradually build layers of instrumentation and complexity through the advancing movements. Ultimately, the film’s sonorous musicality is slightly subsumed by concerns more centered on the narrative. Perhaps a central transitioning scene, in these regards, is the meeting that T.E. Lawrence holds with Prince Faisal. In this scene the British commissary proposes one course of action regarding the war against the Turks to which Prince Faisal rejects at first. Lawrence then proposes a unique solution to the problem that Prince Faisal is more open to. The scene is both pivotal in terms of the overriding plot it sets in motion, as well as a crucial element of characterization, as it demonstrates both Lawrence’s unique perspective and his willingness to go against prevailing British ideology. It is not long before Lawrence has joined Prince Faisal on the mission across the desert. In terms of pure narrative the film is highly successful in increasing viewer interest and articulating the true enormity of this mission across the desert. Expansive long takes of the desert are inter-spliced into the narrative as the marauding troop sets out into the land. The slow-paced editing and narrative in the proceeding scenes function as a means of further enhancing the viewer’s filmic identification. In these regards, the viewer physically becomes a part of the caravan and comes to experience the length of the journey through the extended scenes. The journey is so expansive that a subplot even emerges within the crusade. During the journey a man falls of his camel during the night. The man goes unnoticed until the next morning. Upon discovering the man is missing the others agree that it would be impossible to turn-around and attempt to save him, as it would potentially result in death from dehydration. Lawrence refuses to accept this perspective, however, and demands that he turn around and look for the individual. The film advances a few scenes before the pivotal scene where Lawrence emerges over the desert top. The camera carries a point of view shot from a member of the army that went to try and meet Lawrence, as the man spots Lawrence the film starts to cut between the man and Lawrence. The effect is truly profound. One shot contains Lawrence and the still alive, but dilapidated man on the back of his camel, and the other shot the exuberant man racing towards him. While the scene may be allegorical – indeed, critics have questioned its historical accuracy3 -- it is successful in representing the true passion and leadership qualities that made Lawrence the truly great individual he was in real life. One considers that in this scene Lawrence’s demand to save the man represents a deep passion for his fellow man. The fact that he was able to successfully accomplish this task demonstrates his intelligence and aptitude in the field. Additionally, the scene is of great emotional impact. Following this scene Lawrence takes on a more esteemed role among the tribesmen. The second part of the film finds the appearance of a reporter that is writing about Lawrence’s exploits in the region. The reporter, Jackson Bentley, seems to have a number of narrative functions. One such perspective on his inclusion in the film is that he offers an American perspective to the on-goings. While the British, Turks, and Arabs are situated at different political poles Bentley represents both a new perspective, as well as a sort of perspective on perspectives. Regarding the later, his interview with Prince Faisal and the others functions to add insight into the story by allowing these characters to openly and directly express their opinions regarding the war, as well as Lawrence. While this essay argues that the film ultimately derides warfare, in the context of the narrative it is oftentimes used as a plot device to excite the viewer and keep them engaged in the story. One such instance of this technique occurs early in the film when Lawrence first arrives at the Arab campground. The scene itself is similar to an Indiana Jones type action adventure scene with explosions and planes flying overhead. From a modern lens these special effects would seem crude and ironic if not for a sort of aesthetic rawness that links them to one of the narrative’s central debates of whether untrained soldiers should be given artillery. Still, this scene is highly notable for the film’s focus on Lawrence during the conflict. Rather than demonstrating a particular expression or stance, in this instance Lawrence seems to be entirely outside of the action, while still remaining physically in the center in the conflict. Such an aesthetic approach serves to establish Lawrence’s position as a transcendent moral perspective, as well as makes a statement regarding the absurdity of such warfare. In other instances, the battles seem to take on a less metaphorical significance and rather function for pure thrill. One instance occurs as the soldiers go on a raid early in the second half of the film. They ride out strong and are successful in freeing a plethora of caged horses. While the scene ostensibly advances the plot, it seems to function more importantly on co-opting viewer emotion and instinctual drives for conflict and warfare. Although this is a traditional film device, within the context of Lawrence of Arabia one can’t help but note the irony in such a plot device. In these regards, while one of the film’s underlining subtexts is that war is absurd and misguided, the very instinctual motivations for such warfare are threaded into the very fabric of the film. After the Turks capture Lawrence he is taken to the Turkish Bey. The Turkish Bey challenges Lawrence directly and strips his shirt off. The scene can be read from a number of perspectives. One such consideration is that simple literal intimidation is occurring. From another perspective the scene can be argued to illustrate a challenge to Lawrence’s internal passion and conviction. The Turkish Bey is not only physically challenging Lawrence, but is also challenging his deep-rooted convictions and allegiance to the Arab forces. Lawrence’s being stripped down and abused then represents an attempted stripping down of these ideals. One considers that after this incident Lawrence begins to lose faith in his mission. To an extent one can draw a parallel between such a challenge to the hero and religious mythology, perhaps most significant the figure of Jesus Christ on the cross questioning why his father hath forsaken him. In both instances these individuals experienced a brief spiritual crisis that they overcame. Such heroic portrayals of Lawrence become a prominent theme in the film and are even discussed in a scene. These notions have not been lost of historians and critiques who have considered that Lawrence depiction in the film is in-line with many archetypical elements of mythological literature. 4 The film’s concluding portion has a number of profound implications. Lawrence has recovered from his dejected state and has again experienced a state of personality change. After recruiting a band of men Lawrence sets into battle with them. While previously Lawrence had stood apart as a sort of transcendent element in these battles, in this instance he actively participates in the slaughter, murdering a number of combatants. These actions are highly complex in terms of the film’s overarching thematic message. While Lawrence had previously passionately embraced the cause he had not so actively embraced his own physical act of murdering others. One possible interpretation holds that Lawrence has finally become dejected at the notion of a cause and has instead embraced the very act of murder for the sake of murder. Such a perspective still functions within the film’s anti-war theme as it indicates that even Lawrence has succumbed to the absurdity of such conflict. Still, a second perspective views Lawrence’s actions as the penultimate occurrence in his mission, as he has truly accepted the only way to achieve these ideals is through murdering others. Even after victory Lawrence discovers that no sustainable constructive organization is possible and he is eventually sent to re-join the British. The final image of him being driven away dejected in the car notes that his personal mission has ultimately been a failure as he has had to give in to the broader structural organization of Western society. Within the context of the film one recognizes that there are a number of elements that transcend direct linkage to the narrative. Perhaps the most important of these elements are overarching themes and insights into the entire film. One important theme is the nature of victory. While many traditional Hollywood films – Sparta or 400 – revel in the nature of clearly defined victory, one of the characteristic elements of Lawrence of Arabia is its resistance of such glorification of warfare. While the first half of the film holds a clear victory, the second half of the film greatly muddies these waters. While there are historical considerations involved, it is also clear that the filmmakers are concerned about the overarching message as well establishing the atrocities of warfare. Notably, it seems part of the reason the film has retained its long-term relevancy is because of the continued conflict in the Middle East. This makes both the setting and the film’s message regarding the absurdity of warfare all the more poignant. One recognizes that among the most powerful such scenes in the film are the sacking of Akabah, the massacre of the Ottoman retreat, and the ruthless Arab looting of Ottoman trains. While it may be possible to find historians who emphasize the importance of certain victories depicted in the film for national consciousness, in Lean’s filmic world they become an endless charade of death and absurdity. Another prominent theme is the conflict between T.E. Lawrence and the overriding British dialectic. Beginning in the early tent scene where Lawrence, a British officer, and Prince Faisal discuss the best course of action, it is clear that the film paints the British officers and upper command in a less than favorable light. While it would involve an entirely new essay to untangle this complex political critique it’s possible to make a number of overarching assumptions. To an extent it seems that the British general and his advisor, rather than being concerned about the true plight of the people involved, are highly manipulative. Of course this is witnessed most clearly after Lawrence encounters the general regarding whether the Arabs will have a nation after the war. After the Sykes-Picot Agreement is revealed the viewer discovers that these individuals have gone back on their earlier statements. This theme emerges frequently in the film. In another instance, Lawrence’s men are promised artillery from the British only to find that the British government has gone back on their word, fearing that giving the Arabs artillery would make them independent. As noted earlier the film has a slight spiritual tone, through transcendental imagery such as the rising Sun, and random depictions of the Moon and stars. To an extent it appears that Lean’s message is to establish a political or philosophical dialectic that transcends traditional notions of the nation state or even tribe. While no definitive message is ever established, it seems readily apparent that T.E. Lawrence comes to represent more than the historical figure, but also signifies for Lean all that is moral and virtuous. One considers that Lawrence, to a degree, takes on an almost divine-like presence. His early rejection of the British command early in the film demonstrates a commitment to a purpose higher than country, instead embracing an internal flame and motivation for bringing true harmony to the Arab people. Part Moses, part Joan of Arc, part the direct exemplification of Lean’s ideals, in Lawrence the viewer discovers what is presented as a new path forward for humanity. In conclusion, this essay has examined David Lean’s film Lawrence of Arabia. Within this context of understanding the essay has argued that there are a number of central thorough-puts that form the film’s infrastructure. In these regards, the film has two primary modes of technical explication – an aesthetic approach linked heavily to the structure of classical music and an approach more contingent on the narrative. There are minimal montage elements implemented, however the film makes frequent use of point of view angles, metaphors, and other forms of symbolic forms. In terms of thematic elements, the essay has argued that one of the major elements is the film’s condemnation of war. While a number of sparse victories are achieved at various stages, the cumulative impact as established in the film’s conclusion points towards warfare as entirely absurd. Additionally, Lawrence is presented as at times a fragile and confused figure, while at other times the film’s moral compass that transcends traditional divisions between nation states. Ultimately, it is the complex combinatory impact of these technical and thematic elements that give the film its powerful and lasting artistic and historical impact. References Caton, S. (1999). Lawrence of Arabia: A Film’s Anthropology. University of California Press. Jackson, K. (2007). Lawrence of Arabia (BFI Film Classics). British Film Institute. Korda, M. (2010). Hero: The Life and Legend of Lawrence of Arabia. Harper. Read More