Final Visual Review - Lawrence of Arabia

In 1962, an epic film was released that quickly became one of the most prominent films and Hollywood history. The film - Lawrence of Arabia. Lawrence of Arabia won Best Picture, Best Director, Best Cinematography - Color, Best Art Direction (Set Direction) - Color, Best Sound, Best Film Editing, and Best Music Score - Substantially Original, and those are just the awards it won at the Oscars. For numerous reasons, it became not only an instant success but an instant classic. However, if I’m being perfectly honest, I did not love the film. I had a hard time breaking down why it was so successful, until, I moved away from the story, and focused on the technical aspect of the film.

Lawrence of Arabia is shot in an epic style. This is effective in the sense that the shot style fits the artistic elements of an epic. There are long, establishing shots. A shot that in a “normal film” may last 3-4 seconds, lasted more like 30-40 seconds in Lawrence of Arabia. This artistic choice, at least for me, slowed down the already fairly slow story. Though I understand why the director chose this technique, it did not compliment the storyline or progress the film along. The first time this was used was in the opening shot – a camera is shooting from above the scene locked onto a stationary motorcycle. The character T.E. Lawrence enters and leaves the frame prepping his motorcycle for a ride.

The second scene utilized post-production speed ramping. Because the film was held to the technical limits of 1962, the director could not get the shot he wanted straight out of the camera. The camera was placed directly in front of Lawrence as he rode on his motorcycle. In order to achieve the shot, Lawrence and the motorcycle needed to move very slowly to minimize camera shake. This technique was needed because the Steadicam wasn’t invented until 1975. However, the fact that the shot was sped up in post-production made everything look very fake. For example, every time Lawrence moved, it was extremely quick and jerky. As an audience member, this immediately took me out of the story and questioned the technical integrity of the film. Of course, I’m only able to analyze this in a critical view because of technological advances.

Although I did not love the film, I have a great appreciation for the technical and artistic relationship in the film. Lawrence of Arabia is synonymous with massive, sweeping landscapes. These shots are used to establish the scene, show perspective, and move the characters from one location to another. An additional element that was much more subtle, yet highly effective, was the director’s use and implementation of light. The majority of the film takes place in the natural environment, meaning there can be no artificial lighting. Every time light was presented in the natural environment, it was produced by the moon, the sun, or an object (such as a candle) that could be seen by the audience. This is an element that most people wouldn’t notice because it is so effective. If the director were to use artificial light in a natural environment, the audience would be able to identify something that wasn’t “quite right”. Perhaps, it may even create an uneasy feeling. In this case, the light sources were natural, the audience didn’t notice, and because of it, the Lawrence of Arabia took a major step towards its successful night at the Academy Awards.

Lawrence of Arabia also has an incredible mise en scene. Of all the elements, the costuming, specifically the costuming of T.E. Lawrence and Omar Sharif, is strategically brilliant. When Lawrence is accepted into the Arab community to assist them in achieving freedom, he is costumed in an all-white – almost angel-like. Now, I will get into the racial implications of this in a moment. Fairly quick into the movie, Omar Sharif encounters Lawrence. At this point, and throughout the rest of the film, Sharif is dressed in all black. During their first encounter, Sharif is depicted as a villain. For starters, he shoots the individual helping Lawrence trek across the desert. However, it becomes apparent that Sharif is not a villain as the film continues. Near the end, Lawrence experiences a sort of mental breakdown. He begins killing more and more people. As an audience member, he reveals to us that this no longer bothers him. Matter of fact, he almost enjoys it. As soon as this becomes the case, Lawrence’s perfectly, angelic white robes are dirtied beyond repair. It directly symbolizes Lawrence’s shift and breakdown.

Now, returning to the racial implications. In the Lawrence of Arabia, there are many middle eastern characters who are portrayed by white people. It is very similar to the famous Road series starring Bing Crosby, Bob Hope, and Dorothy Lamour in this aspect. Aside from this blatant racist feature of the film, the entire basis speaks to the White Savior Complex. T.E. Lawrence is a white individual brought to the lead and save the indigenous Arabs. On top of this, throughout the entire film, he is praised by the tribes. Although this doesn’t speak to the technical aspects of the film, I believe it is very important to note.

The final technical aspect that is used throughout the film is the director’s use of shadows. At the beginning of the epic movie, Lawrence is brought into a scene to discuss the possibility of traveling to the middle east to assist the Arabs. In this scene, the commanding officer is well-lit and holds a prominent position in the composition. Before Lawrence enters, context is given for the audience to understand that he is an outcast – someone who does not really fit into the British Military. Now, as Lawrence enters, he is hidden in the shadows. He does not have a powerful poise at all and appears to be very submissive. Because very little has happened, not much consideration can be taken into the fact that Lawrence is in the shadows at this point. As soon as Lawrence begins his quest through the Middle East, he immediately acts as a strong leader. Many of the camera angles shoot him from below, showing his prominent presence. Then, in one of the final scenes, he returns to talk with a British commanding officer. While arriving and before entering the room, several people come up to him and ask to shake his hand because it would be a “great” honor. The writing is directly setting up the scene to follow. In this scene, Lawrence enters the room with the commanding officer and is enshadowed right away. He stays in the shadows for the entirety of the scene. The strategic use of shadows in this example returns the viewer to the opening. With both of these in mind, it becomes even more apparent that the use of shadows is to visually show that Lawrence is an outcast and does not belong with the British Military.

The Lawrence of Arabia is one of the most prominent films in the history of cinema. In my personal opinion, it has nothing to do with the story, but rather the technical genius that takes place to parallel the story. The artistic elements create an entire plotline in itself – the real reason the Lawrence of Arabia saw an incredibly successful awards cycle.