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Download Lawrence of Arabia 1962 Movie Legally
Year:
1962
Country:
UK
Genre:
Drama, Adventure, Biography, History, War
IMDB rating:
8.4
Director:
David Lean

 

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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
Lawrence of Arabia 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.
Type Resolution File Size Codec Bitrate Format
1080p 1920x874 px 4604 Mb h264 2835 Kbps mp4 Download
DVD-rip 560x320 px 1865 Mb mpeg4 1181 Kbps mp4 Download
Reviews
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.
2001-10-04
Simultaneously personal and panoramic
Sweeping, epic and literate version of British adventurer and soldier T E Lawrence's experiences in Arabia during the First World War. Lawrence, miraculously well played by Peter O'Toole, "went native" when sent into the desert to find Alec Guinness's Prince Feisal. Before long he was striking out himself against the Turkish Ottoman Empire, which still held sway in the region at the beginning of the last century. Lawrence's efforts to unify the various Arab factions are particularly prescient.

Lawrence became an inspirational warlord whose neutral presence amongst the Arab tribes, lead by Omar Sharif and Anthony Quinn, amongst others, served to glue together shifting and uneasy alliances. As well as wrestling with himself, with his own demons, and with the cruel desert environment, the Englishman was also faced with culture clashes which pitted not only the imperialists against the indigenous populations, but also the mercenary practices of the Arab guerillas against the discipline of the British army. In the end, Lawrence himself does not know which side he is on, nor which party he belongs to. Set against a backdrop of the Arabian desert, the nomadic allies under Lawrence's direction, attack and disrupt the Turks' efforts to maintain control of the territory, whilst the elephant - the British army and its heavy guns under General Jack Hawkins - pushes ever deeper into the area: not until his job is done does Lawrence learn that the French and British governments have carved up the middle-east between them and that the battle-lines for the 21st century are already being drawn.

Scripted by the inimitable Robert Bolt and directed by David Lean, Lawrence of Arabia is one of those films without a weakness, despite drawing complaints for its near four hour length. The dialogue, cinematography, soundtrack and especially direction are superlative; likewise the supporting actors. But it is O'Toole at his charismatic best who steals the show in his starring debut; he never looked back. It may take an effort to watch this movie, but is well worth the ride and will, by the bye, provide some insight into the fractious and volatile world of Arab politics.

One of the best films ever made.
2004-05-23
How can I fight a bloody war without artillery?
Reading "The seven pillars of wisdom" does enhance the film experience indeed. Several times you have to hear "No, I didn't know him well, you know." at his - T.E.Lawrence' - funeral and it will ring some more bells inside you, if you've read his biography. One might accuse the film here, that it missed the opportunity to show what his extraordinarity consisted of other than his control of pain and fear. But at the time, 1962, it wouldn't have made too much sense to include those things. Today though... the man is so severely against the modern grain that it would have been a delightful thing to have him privately portrayed. He is an anti-future, so to speak, a glimpse on a branch that history just didn't pursue any further.

So much for Lawrence, now to the film itself. "Lawrence of Arabia" seems to be a monumental film, but all the wide shots do nothing to disturb its personal tone, probably because there is nothing that they capture, just the emptiness of space. Anyway, as such, as the exhibition of emptiness, they don't really work, that's better left to the imagination of the reader or the eyes of the tourist. The important thing though is that they do not disturb the personal tone, which is the quality of the whole film.

That statement might surprise after my prelude, but personal isn't the same as private. In this film we see only ordinary stuff, people getting shot at, arguing, riding horses or camels and laying bombs. Yet artificial as it - as any film - is, it radiates warmth. The characters are convincing. Their dialogue is essential and sometimes, where you'd least expect it, namely in Auda, it is even philosophical, touching Lawrence' religious considerations "It is my pleasure that you dine with me in Wadi Rum!" This exposure of hedonistic thought illuminates a wider principle. What it means to be truly free. So free that you can even choose what you want to believe in, what you want to make the religion of your tribe. And what it means to be truly tolerant.

Now, having stated all that, I still haven't even remotely begun to tell anything about the film's plot, about "big things" in Arabia. How "big" these things were in Lawrence' head, you won't be able to tell by watching the film, the term "New Asia" doesn't occur once, a shame, considering the influence of more recent ideas on the same subject. Still, a "big thing" remains essentially a "big thing", no matter how far you drive your fantasy. And standing against "big things" there'll always be the common things. Verily, both sides do their best to drive each other mad.

And then, there's something more, something elusive that is never clearly mentioned in the film... o.k., enough of that parody. I missed the quote "Preaching is victory. Fighting is illusionary." I did miss that, because it captures the soul of this whole thing and gives the answer.
2007-02-15
Review-proof
I first saw this movie on a scratchy VHS almost twenty years ago (I was 10). Liked it (sort of-enjoyed the battle scenes and the train blowing up), but didn't understand why my dad was so crazy about it.

The next time was on laserdisc (remember those?) almost 10 years ago and I was hooked. I finally got it - the conflict, the performances, the music, the dialogue - all mesmerising.

But it was only in 2002, when I saw the 40th-anniversary reissue on 70mm that I was completely blown away seeing the scale, the enormity of Lean's accomplishment. There were scenes that gave me goosepimples (the opening credits, the cut from the matchstick to the desert sunrise, "nothing is written" - others too numerous to mention).

The point of this rather rambling review is this - a movie that can evoke such passion in its admirers stands by itself, beyond reviews or criticism. If you haven't seen it yet I envy you, because you get to experience it for the first time.
2004-12-23
Landscape of Arabia
The story of T. E. Lawrence as he fights for the Arab cause becomes a sprawling screen epic, magnificently photographed under the keen eye of Lean. The film made O'Toole a star and boasts an all-star. This is a fine film, but is extremely overrated. The plot, what little there is of it, is generally uninteresting and rambling, causing the middle part of the film to drag terribly. An hour or so could easily have been trimmed from the middle, thereby producing a tighter and more compelling story. The acting is uneven, with Guinness underacting and Quinn overacting as Arabs. Ultimately, though, the cinematography and score manage to compensate somewhat for the weaknesses in the script.
2006-05-02
"Truly, for some men nothing is written unless they write it"
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 London at the age of 47, 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 David Lean's stunning film is often referred to as "One of the greatest films ever made" and one of the "greatest British films to cross the pond "and rightly so. So breathtakingly beautiful I even had the stunning colors in my dream last night and that score playing over and over again. As Spielberg said on the DVD" A film which is an inspirational to all" and I totally concur with that as I, like Spielberg won't to try direction in the future. This is the film that inspired Spielberg to make movies and the likes of Scorsese. So this is one film that no-one should miss.

A film of epic proportion and stunning visuals is overwhelming when you watch it. In modern film making it's unlikely that you will see a film so authentic as this. With the introduction of CGI, a film like this would not be made today! I doubt I'll give such a detailed review, as I am still spellbound by the film...still thinking about it's greatness. I will most likely repeat myself, so bear with me. It took 2 years to film this, but you can see the attention to detail in every frame. So well directed and so well put together with stunning visuals, which makes most films you've seen recently look average. If only films were like this now, I would be so much more happy! The screenplay has to be one of the greatest ever written. Every bit of dialogue, you want to hear and when there's no dialogue you are still engaged by the landscape and the spacial awareness of the characters-who so wonderful portray their characters, you can't help but feel part of the film.

Each actor's dialogue so brilliantly play off one another...again it's so wonderful to watch. Some outstanding performances from Peter O'Toole, and Omar Schariff, who rightly gained an Academy Award nomination, and Alec Guiness and Anthony Quale. By the end of the film, I didn't realize it was almost 4 hours long, which again shows how much I enjoyed this film. Perhaps it shows the shot attention span of people today as to some negative reviews I've read on here. That annoys me a lot. All I can say to people is this, it shouldn't matter the length of a film! That score has to be one of the greatest I've seen on film. I am still running over in my mind now, so well orchestrated it's unbelievable. Arabia contains some of the most iconic scenes in cinema history from Omar Scharrif's entrance to Lawrence standing on top of the Turkish train with a background of sunlight....it leaves me Wowed. Again that scene with the entrance of Omar Schariff, wow! One of the greatest entrances I've seen. So well photographed and directed, you'll never see such a scene like that again. Superb! Overall, a masterpiece of a film, which every single person on this site such watch. Such an amazing film...outstanding!
2015-09-08
Excellent movie. The lone heroic soldier unite Arab against the evil Turk
Seems that all modern movie to have the large computer effects to make great film. Not true with this old film. Seems good today as was when released decades ago. Movie show classic heroism as lone British operative help to unite the Arab people to fight the brutal Turk empire. Thomas Edward Lawrence is name of real life person who did this for British to help remove the destruction of the areas touch by Turkish armies in the Middle East areas. This movie also contains the acting by many famous actors. Most important is the film have one of the best direction a film could have. Film has some very dramatic moments such as scary Turkish torture scene and also the large build up to big battle scenes. Film also contain the stunning large amount of extras in the background. No computer gimmick like in the film today. Every person you see in scenes with thousands is actual real person! Film is as good as any film could be. Please hope that nobody says that book not like film or that they have too many differences with book since this film one of the best. Film truly worth 10/10.
2005-11-12
A film that literally excites the senses...
David Lean's "Lawrence of Arabia" is one of the few films that legitimately deserves to be called great… It appears on virtually all "ten best" lists and reveals deeper layers of meaning with repeated viewings…

Lean, a man devoted to the art, gives "Lawrence of Arabia" its spectacular values... He unifies the sand and the sun to flame out the silver screen... Maurice Jarre's terrific music escorts the appearance and disappearance of the sun below the horizon in the sleepy desert...

"Lawrence of Arabia" is a prodigious labor, a masterful mixture of fact and artistry, a masterpiece of intimate moment and spectacular largesse, a film that literally excites the senses... In a visual sense, Lean combines a sure sense of place with an approach to the action that he borrows from an unlikely source—John Ford… Lean turns his vast desert canvas into another Monument Valley, and when his Bedouins ride across it, they are not far removed from Ford's cavalry… In many of the early scenes, the stately gait of the camel's walk gives the film a slower pace, and this is precisely what Lean is trying to achieve… Lean even manages to surpass Ford with his understanding of the relationship between his characters and the landscape; how the desert changes those who go into it…

The film is the story of a solitary adventurer who always knew he was different, but in Arabia he discovers that his proportions are heroic... Perhaps this is the secret of Lawrence of the legends — that at the bottom of all the violent action is a protagonist about whom one cares... A puzzling personality whom one glimpses but never fully understands... Throuhout the picture one has a sense of a man discovering his own unique dimensions...

Lawrence's mission, largely his own creation, is to unite the feuding Bedouin tribes under the leadership of Prince Feisal (Alec Guinness), and to keep the British politicians, as personified by Mr. Dryden (Claude Rains), from putting the Arabs under their colonial thumb after World War I is over… It is accomplished through a semi-episodic series of battles and raids where Lawrence is sometimes accompanied by Ali (Omar Sharif) and Sheik Auda (Anthony Quinn), and equally difficult bureaucratic struggles he faces with Gen. Allenby (Jack Hawkins).

All the conventional elements of the genre are at peaks of excellence here: The stretch desert with its white golden sands; peril, anywhere and everywhere; danger–for Lawrence of Arabia is a film about guerrilla warfare; prowess–Lawrence crosses Sinai on foot; physical torture–Lawrence in the hands of the Turkish bey; impossible mission– Lawrence takes the seaport of Jordan from behind; ruthlessness–Lawrence shouting 'take no prisoners' leading his men to put to death a Turkish column...

Every component is here, everything one needs for a great adventure film, many spectacular sequences, each of them so perfect: Lean cuts to the sun again and again, turning it into a character; the scene in Feisal's tent when Lawrence first talks with the king; Lawrence striding on top of a captured train, parading before rows of cheering Arabs; the scene between Lawrence and Ferrer illuminating Lawrence's strange perversity, a mixture of masochism and repressed homosexuality; the scene when a Beduin prince appears on his camel, an exceedingly long take in which a strange figure is first resolved out of waves of heat and then, as he approaches, becomes a frightening threat to Lawrence's escort at the desert well...

The photography, the script and the acting are so superb that "Lawrence of Arabia" becomes a lavish epic winner of 7 Academy Awards for Best Picture, Directing, Color, Cinematography, Sound, Muscial Score and Film Editing...
1999-11-29
A true work of art
This film is the best film ever to grace the motion picture screen. It is bar none, a cinematic masterpiece, yet to be rivaled and far ahead of it's time and yet, contemporary and historical. Nothing compares in my mind. Seeing this film is escaping through vicarious interpretation of history on a great adventure through a daring metaphor comparing the life of one man to the clash of civilization where it is said to have originated. This is an interesting contrast to the mundane, civilized life of the English countryside where our protagonist and lead character, Mr. Lawrence meets his untimely demise, not for lack of boredom on a motorized conveyance after returning home from traversing the vast desert on a camel, risking life and limb, in a daring raid.
2017-04-05
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