Just some film musings of a more succinct, spontaneous and sometimes seditious nature:

Saturday, January 28, 2023

On TCM today:

Western fans should check out the rock solid The Fastest Gun Alive, reviewed here, with a spectacular final showdown not to mention the tension-filled and expertly handled exposé leading up to it Saturday, January 28 at 1:15 pm PST.

TCM's current monthly schedule can be confirmed by clicking on any of the above images. For those who live in parts of the U.S. other than the western region, the time zone can be adjusted in the upper right-hand corner of TCM's programme.

A film posted for discussion in our cinema chatroom (all readers are encouraged to join here: https://www.facebook.com/groups/902349343110685) related to:

Lawrence of Arabia (1962)...

receiving numerous responses, some of which are as follows:

“Terrific film production best enjoyed on a big screen.”

“Arguably the greatest film ever made.”

“A Epic Blockbuster Favorite of Mine. The Music by Maurice Jarre is Great.”

“A splendid film, a blockbuster yes, but so much more than that. The characters were very complex, starting with Lawrence, so it could also be intimate at the same time. Arthur Kennedy as the reporter was sort of doing a "rosebud" act on who was really Lawrence and what drove him”

“A beautiful epic. A terrific example of the art form of filmmaking.”

“I loved it when it was first released, but subsequent viewings have dimmed that. Most recently saw it on the big screen again and realized how much of it is pure spectacle, sans insight. The first half is still terrific, but after that, what's the real tension in the movie? That Lawrence (O'Toole)'s sodomizing by a Turkish officer will lead to the gay life? David Lean's reputation rests on vast spectacle, and spectacle, though a fine ingredient in many movies, isn't IMO the measure of cinema greatness.”

“A lot of it IS boring. Like Kwai. There's a lot of David Lean' s historical films to do with pure propagandist history-making. Lawrence could have been a better film if it was less to do with , ehhh ' history ' and more to do with a mythological man as a hero. It is caught rather halfway between both ......”

“It's beautifully made, but as Leslie Halliwell pointed out, you don't learn a lot about what made the main character tick.”

And of course my own…

Making such a character as Lawrence enigmatic is not a problem when his involvement in the occurring events is so thorough, vivid and compelling as portrayed in this film. There is also a developmental transition that occurs leading him to the brink of madness that coalesces perfectly with his relationship to the British Government and its policies. Lawrence’s evolving psyche (considerably enriched by Peter O’Toole’s hallowed performance) gives further gravitas to the proceedings especially his wartime experiences. One need only compare this character to Doctor Zhivago in Lean's subsequent epic to see the enormous complexity inherent in Lawrence of Arabia. Its visual (care of director David Lean and cinematographer Freddie Young) and aural (by way of Maurice Jarre’s music) splendours are undeniable in each and every scene, moment after stunning moment. Sherif Ali’s (a deep sincerity procured by Omar Sharif) first appearance in the desert is a wonder to behold. The narrative flows seamlessly, assisted by Anne V. Coates’ editing proficiency. The film’s lasting resonance is mostly due to the filmmakers concentrated effort in focusing on the calamitous affects those mounting depictions of strife and divided loyalties have on our titular leader.

All responses are not only welcomed but encouraged in the comments section below.

Hope to see you tomorrow.

A.G.

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