I was only a young teen when I first saw Lawrence of Arabia on its initial release--far too young to understand much of the history or plot. However, I did gain an appreciation for the vastness and brutality of the Arabian Desert, and was primed to see its fully restored 70mm version when it was rereleased 30 years later. I am so thankful that David Lean made the sacrifices he did to create that movie back in 1962, because no studio would risk their money on such a film today.

After all, the expense of shooting on location in the middle of the desert with a large number of crew and extras would be cost-prohibitive (we'd be treated to CGI Arabian armies instead). Add to that the idea of using then-unknown actors in leading roles, with no sex scenes or romantic interests in an all-male film, and no fancy special effects or mindless action scenes, and I can't think of any major studio that would touch the project. Fortunately, David Lean was working on Lawrence of Arabia after his successful Bridge on the River Kwai project.

Lawrence of Arabia is one of those rare films that runs on all cylinders. It's an epic that works as historical drama, educates us about another culture, serves as an excellent character study, and is filmed beautifully and composed artistically. Though it should be seen on a large screen to appreciate its 70mm glory, a DVD presentation may have to suffice until Lean's masterpiece is rereleased again.

Some knowledge of World War I history would be helpful, but Lawrence of Arabia does well on communicating the necessary details to allow mature individuals to follow the plot. I was especially impressed with its cultural sensitivity, considering that David Lean is decidedly British, as are Peter O’Toole, Alec Guinness and screenwriter Robert Bolt. It is almost like the line that Guiness uses to query Lawrence: "Loyal to England and Arabia? Is this possible?"

Not only is this possible, but Lawrence of Arabia has done its research and used the actual writings of the complex T.E. Lawrence to develop its story and insights. Thus, while it remains largely from a British viewpoint, it does educate us about nomadic Arab life as Lawrence attempts to assimilate himself into Bedouin culture. Through our identification with Lawrence, we learn about the various tribes, how they are able to move across the desert, the importance of water and wells, and some of the philosophy, religion, and habits of this arid and desolate region.

We also learn that Arab culture has vastly different perspective and values from the dominant British culture as they fight jointly against the Turks. Feisal merely rolls his eyes when General Brighton emphasizes the importance of the Suez Canal; it is of no consequence to them. We see Feisal's eyes brighten when Lawrence completes a portion of the Qu'ran and later replies in Arabic manner to a query about military strategy that Damascus is very beautiful. Lawrence paints a picture of the ancient days when the Arabs ruled the deserts like British ships rule the ocean and exhorts Feisal that it's "time to be great again."

Like Citizen Kane, Lawrence of Arabia begins with a mystery. After we see T.E. Lawrence's final motorcycle trip, we are transported to his funeral where we discover that he is truly an enigma. Though Major Allenby states that he hardly knew Lawrence and that he served only in some minor capacity on his staff in Cairo, Major Brighton declares that Lawrence was the "most extraordinary man" he ever knew. Journalist Bentley describes Lawrence as a poet, scholar, and warrior and also the "most shameless exhibitionist since Barnum and Bailey." Additionally, many historians believe that Lawrence was homosexual, and the movie does nothing to discredit this possibility. One of the characters questions the wisdom of canonizing the legendary man in Westminster Abbey, so immediately we are drawn in and want to learn more about Lawrence. The hook works.

Without resorting to overdone carnage in the style of Braveheart or Gladiator, Lawrence of Arabia reveals more facets of Lawrence’s character with each new scene. Initially we sense that he is a risk-taker from the motorcycle run, and when whisked back in time to Cairo, we learn that he is an intellectual who subtly disregards authority figures.

What a strange hero he turns out to be--charismatic on the one hand and heroic by facing impossible odds against the desert, yet later puzzled and confused about the enjoyment he felt when executing a man. In one scene he champions the Arabs' cause and in another he desperately longs to forsake the desert and return to England. In another scene he leads a bloodthirsty charge against the enemy, but follows it by posing like a fashion model (which highlights the possible homosexual angle). Lawrence remains a puzzle that can be discussed long after the final credits roll.

As Lawrence describes himself to his Bedouin companion, "I'm different."

Omar Sharif plays the main supporting role as an educated Bedouin. I find Alec Guinness' portrayal of Prince Feisal more interesting, though. He is Lawrence's equal whenever they are on the screen together, and shows that the Arabs are far more capable of handling their affairs than the British give them credit for.

The first indication of this occurs during Feisal';s private meeting with Lawrence, when he probes to find what kind of man he is and to discover Lawrence's motives. Feisal shows how sharp he really is when he incorporates Lawrence's previous words of the "... little people, a silly people, greedy, barbarous, and cruel" in his discussion. Feisal makes it plain that he is a quick study of character and is extremely politically astute.

Throughout Feisal's relatively small appearances we sense that there is far more brewing beneath the surface than he outwardly reveals. Though Guinness isn't entirely convincing as an Arab, he definitely demonstrates the necessary charisma and self-assuredness that a leader must have. As he says to Allenby, "You are merely a general. I must be a king." He does this as he brokers a deal with the British to assure that he will maintain control of essential services that the British are obligated to supply.

Credit the screenwriter with giving Feisal memorable lines that make him sound far wiser than his British counterparts, such as "Young men make wars and the virtues of war are the virtues of young men: courage and hope for the future. Then old men make the peace, and the vices of peace are the vices of old men: mistrust and caution."

Some pretty heady stuff, when you start comparing this to summertime fluff.

The real star of Lawrence of Arabia is the desert itself. It's the one lasting image that remained with me after first seeing the film years ago, and still the most memorable scenes involve the cinematography of the desert landscape. Freddie Young deservedly won the Academy Award for his cinematography work here.

There actually is a romantic story that permeates Lawrence of Arabia. Not your normal love story; it's more a relationship between the camera and the desert. I've never seen a desert shot with so many facets before, and much of this has to do with waiting for the exact tones of lighting to catch the various moods of the shifting sands. Even if Lawrence of Arabia had no story at all, I would be fascinated with the camera work here as a travelogue for the region.

One of my all-time favorite transitions occurs early on, just after Lawrence has told us that the secret to his trick with putting out matches with his fingers is "not minding that it hurts." He is in Dryden’s office and is looking forward to his coming trip to the Arabian Desert. Lawrence snuffs out the match and immediately we are transported to a vast desert landscape with the sun just barely peeking up to start the day. It still blows me away each time I see it.

There are other items that all good directors take note of. Many stretches have no dialogue at all; thus, the camera and symbolic imagery must suffice to communicate the message.

One such instance occurs when Feisal tells Lawrence that they will either need the British artillery or they will need a "miracle." Lawrence then goes off alone to figure out this miracle, and does so with the assistance of two young urchins who toss a rock at him from behind. This turns out to signal the brilliant military plan that turns the tide on the Eastern front and brings Lawrence his notoriety. But notice how this is all done silently through Lean's visual imagery.

And I must give credit to Maurice Jarre's magnificent score, which captures the epic feeling of the period and desert perfectly. Though the quieter background score appropriately supports the action, it is most magnificent during the silent portions across the vast desert. This is one of the few times I've actually come back early during the intermission just to hear the musical imagery work its magic.

Though I was far too young to fully appreciate Lawrence of Arabia when it was first released, I was completely mesmerized when I saw it again on the big screen in 1992. It's not perfect, but it's about as close as any film I've seen. The great films can be seen over and over while you gain new insights each time and see the film a little differently. Citizen Kane works this way for me, as does Lawrence of Arabia. The historical and cultural content is so dense that I pick up different perspectives and nuances with each new viewing, and I continually find new instances of incredible camera work the more I watch for it. Lawrence is such a complex character that you can easily view different aspects with repeated showings; this holds up extremely well.

Don't expect another similar film ever to be made, considering the way the film industry works. They couldn't afford to make this type of film today, nor do they need to. We can enjoy its restoration. The really good thing is that your children and your grandchildren will also be able to enjoy Lawrence of Arabia in the future because it will stand the test of time.

*Note: The special DVD version contains a good documentary about the making of the film that differs from the previous documentary, as well as a brief interview with Steven Spielberg, and some Web links that require inserting the DVD into a computer DVD drive. Unfortunately, no commentaries are provided, and the interview with Spielberg illuminates nothing in particular (mostly a confirmation that Spielberg likes the movie and once sat with David Lean for a private screening.