Rating: 
Summary: A Film with Real Depth
Review: As many previous reviewers have done an excellent job of describing the DVD-specific aspects of this item, I'd like to comment on the film itself rather than the physical presentation. Firstly, it has to be said that T.E. Lawrence was a bastard - in several senses of the word.
He was the illegitimate son of a well-to-do Englishman who contributed financially to Lawrence's upbringing - but never had the faintest intention of formally recognising their relationship.
This, at time when class and parentage were key pillars of a totally hypocritical social system, goes a long way to explaining Lawrence's ambiguous feelings about his own identity (he used several different names at one time or another), and even, perhaps, his *allegedly* wavering sexuality. It may also help to explain why Lawrence was so drawn to the vast emptiness of the Arabian Desert, despite his upbringing in England's "green and pleasant land". In England, Lawrence had little option but to be whatever society made of him. In Arabia he was able to be whatever he cared to make of himself. (Which was no doubt why he had been in the Middle East for quite some time before WW1 started - mainly engaged on archaeological activities.)
The exchanges between Sherif Ali (Omar Sharif) - who starts out taking the traditional view that "It is written..." - and Lawrence's (O'Toole) retort that: "Nothing is written unless I write it" - have several levels of significance. Lawrence's return into the searing heat on 'The Anvil' to rescue Gasim (though indeed based on a real-life incident) also stands as a metaphor for man's place in the universe, the social outsider making his own rules, the contrast between the values of the Arabs and of their European allies, and provides a commentary on the self-made nature of the true 'leader'. The subsequent episode in which Lawrence executes Gasim, in order to prevent a re-emergence of inter-tribal hostilities, likewise has a number of facets. On the one hand it asks again the metaphysical question of how far our lives are predetermined by "fate". And it also refers us back to the other considerations I just mentioned. To what extent are we all bound to conform to social pressures in the end? How far can any leader, however charismatic, afford to confront the basic beliefs and values of his followers, etc.
It seems to me that the film depicts Lawrence's time as leader of the Arab Revolt as being a major journey of self-discovery, and that this brilliantly understated 'sub-text' is one of the primary reasons why the film has remained so popular for so long. A second, though less subtle, sub-plot is linked to the nature of British Imperialism. When this film was made, most people living in Britain still remembered at least a part of the age of the great British Empire. At the same time, however, with lands and colonies being stripped away at an ever-increasing rate, we were already entering the unknown 'territory' of post-Colonialism. In part this meant a lingering pride in our previous power - when "half the world was coloured red" - but also a growing belief, in some quarters, that our main contribution to the countries we'd ruled had been to rip them off for as much of their wealth as we could lay our little hands on. In Victorian times we had justified our behaviour by elevating Darwinism - and particularly "the Survival of the Fittest" - to the level of both scientific and moral absolutes, thus excusing virtually any amount of disrespect to the natives of those countries we ruled over. With this idea in mind it is interesting to watch the interplay between the quintessential 'white man', Lawrence (even down to the colour of his robes) and the Arab 'hordes'. Note, for example, Lawrence's several announcements that the Arabs shall have this or that because *he* will give it to them.
In reality, of course, it was Lawrence who was utterly dependent upon the Arabs for his success.
This contrast of Arab and Westerner hits home hardest, I think, in the scenes in Damascus, both in the Arab Parliament and in the Turkish hospital. The degree to which Lawrence was indeed a tool of the "puppet masters" is made patently obvious as the film draws to a close. In the final scene in Allenby's office we find the General, the Machiavellian civil servant 'Mr' Dryden (brilliantly portrayed by Claude Raines) and King Feisal (Alec Guinness) in conference. It is they who will discuss and determine the future of Arabia, whilst Lawrence is 'bumped up' to Colonel - and shipped home to England (where he can no longer cause any problems). By the way, although, in the film, Lawrence's funeral follows straight on from his return from Egypt, there was in reality a gap of approx. 18 years between the two events, during which he tried hard to escape from his fame by joining the RAF (1922) as J H Ross, a mechanic, then the Tank Corps (1923) as T E Shaw, and back to the RAF in 1925. By the time of his fatal accident he had retired to a country cottage in Dorset. As a Brit. I find the film endlessly enthralling.
The screenplay, by Robert Bolt and Michael Wilson, and David Lean's direction are as profound and intelligent as you will find in ANY film from any country at any time. I wonder how it looks to non-Brits 8)
Rating:
Summary: The Greatest Movie Ever Made on a Great DVD
Review: I'll keep this short. Lawrence of Arabia is one of the greatest cinematic achievements of all time. Visually inspiring with a script wrought with profound insight into human identity. The DVD extras make this a worthy investment short of owning a 70mm print.
Rating:
Summary: Lawrence of Arabia - Majesty of the land
Review: Just watching the movie without the sound shows you the majesty of the landscape. This is so real looking, you have to dump the sand out of your shows after watching it.
Rating:
Summary: Superb in virtually every respect
Review: As repetitive as it may sound, this is definitely one of the masterworks of cinema. Fantastically shot and superbly acted, I absolutely had to purchase the DVD when it was released. Knowing that the film had been restored by Robert A. Harris, I figured I was in for a treat. I was right. The transfer is pristine. The only thing I noticed were the light vertical bands in some of the desert scenes, caused by heat damage to the camera rolls during filming, not to any DVD transfer problem. The only other minor blemish was in the tent scene with Feisal--the brightness level pulses up and down at a regular interval, again likely due to uneven weathering of the original print. These complaints, however, are trivial when viewed in respect to the film as a whole. The cinematography is nothing short of stunning (I absolutely love the well sequence when we first see "Fred" Sharif) and the DVD captures it perfectly. The soundtrack is also magnificently presented in 5.1 channel Dolby Digital. Ignore the "Widescreen Review" information provided by Amazon...it seems to be for the wrong film. You won't go wrong with this DVD.
Rating:
Summary: A Timeless Classic
Review: Lawrence of Arabia was the winner of seven academy awards in1962, including Best Picture. That should say enough, but of course, it does not! This is a movie on the same scale as Ben Hur, Spartacus, and Elizabeth Taylor's version of Cleopatra. This DVD is director David Lean's uncut version, which is over three hours long. As always the director's cut is the best! This movie took two years and three months to complete. Great movies like this just are not made anymore. Made in the days before special effects and settings were just mere computer illusions. Everything is "real", or as perhaps T.E. Lawrence would say, "Clean." This DVD version has some outstanding extra features. Four original featurettes: "Wind, Sand and Star: The Making of a Classic," "Maan, Jordan: The Camels Are Cast," "In Search of Lawrence" and "Romance of Arabia." There is an exclusive documentary entitled "The Making of Lawrence of Arabia", which is outstanding. Also, a conversation with Steven Spielberg, original newsreel footage of the New York premiere, advertising campaigns, and talent files. As an added bonus there is even a reproduction of the 1962 souvenir booklet. This is an outstanding film that will go down in history as one of the all time best!
Rating:
Summary: A must have
Review: Lawrence of Arabia is one of the finest films ever made. I know that sounds obsessive, excessive, and cultish, but it's true anyway. If you've never seen it and feel a little put off by it being an old movie or a long movie, dont worry, you'll enjoy it. It's an easy movie to like. But it also has an incredible amount of depth to examine closer and closer on each viewing. You just may end up watching it 5 or 6 times in as many months.
Rating:
Summary: Wonderful, Timeless Classic
Review: This film gives us a look into the psyche of one of the most interesting figures in history. The illegitimate son of a British Noble, T. E. Lawrence was forced to find his own path through life. This movie starts out like Gandhi, seeing his death, then his funeral, where we get some biographical information. From there we go to the beautifully filmed deserts of what was once called Arabia, where a war is raging. Lawrence will blaze his own trail, doing what he pleases with great success. The military men withhold artillery because it would "make the Arabs independent." So, he uses guerilla warfare to wage his war against the Turks, all odds, and tradition and sentiment. David Lean is one of the greatest directors of all time, and this is an amazing film.
Rating: 
Summary: Sorry people, I guess I'm just too dumb to get it.
Review: I have been viewing this film every few years since it first came out. I figured my initial boredom with the interminal sand scenes was my due to my youth and inexperience; but I can now honestly say: I don't like this movie. It just dra-a-a-ags. And I have quite a tolerance for slowly-paced movies. I like Peter O'Toole and really like Omar Sharif. So there you go. I honestly don't understand what the big "thang" is about this movie. I heard that this movie took forever to film and that Peter O'Toole went through all kinds of identity problems while filming it. Those facts are more captivating to me than this long piece of work. I guess I just don't get it.
Rating:
Summary: The best movie of all time?
Review: It clearly would have been the movie to end all movies were it not for its lack of any female character. It is probably not well known today simply because it puts everything else to shame. Especially embarrassing to today's filmmakers is it visceral superiority, the images, the light and in fact the resolution (due to it being shot in the 3.5 times larger per frame 70mm format that Hollywood has since deemed us viewers too undiscerning for). As astoundingly IMAX like as its sweeping desert Vistas are, it is the cerebral that makes this movie the masterpiece it is. Based on an entirely true story (well as much as we can believe Lawrence himself) it depicts many cultural as well as psychological issues. In particular that of the genius Lawrence and his inability to cope with his new-found power and the fake morality or the English juxtaposed with the simpler yet ultimately more moral Bedouin. Take your time to watch this movie, it is of a different pace than the modern action thriller.
Rating:
Summary: desert star
Review: I love trains. After "Lawrence of Arabia," I realized why I had so much passion about trains storied away, especial a David Lean train, those long winding black serpents that cross the desert like hells messenger. I love trains, because they carry me off to another place, another time. "Lawrence of Arabia" is no different from the trolley I wrap around the Christmas tree. The movie is its own personality. The personality of "Lawrence" is locked inside the cinematography, acting, and directing which is neatly sealed in the DVD. The personality of the movie parallels T.E. Lawrence's ego. A man who elevates himself to a God like status by crossing and rampaging the desert. The movie builds up as well, from the first minute to the last it transforms to one of the greatest films ever. What we learn for Lawrence is not about a man at that stage in his life but more on how he went so far in his short time. Peter O'Toole has the blue eyes of man gazing at his destiny; he takes a long look into the future, his death, and the journey he has embarked upon. Those blue eyes that always seem to be burning like the desert and the imaginative camera work creates a sort of archeology out of the movie. It teaches us so much about the hard times of World War I and as I stated before, T.E.'s rise to near perfection. One of the most interesting things is that T.E. Lawrence blows part of the famous train away. He does this so that he can raid the train. It is certainly one of Hollywood's most memorable moments. If the train represents a certain fragrance of freedom to me, I tend to think that Lawrence might have been on the same train in that thought. Whereas I expand on the dream of freedom and, Lawrence choose to take down the train for personal gain so that he could walk towards the Sun for a brief moment. That is what we must understand in the end. It is better to travel on the train, watch the train as cuts across the desert ... or place it in a particular spot for decoration. This is so much better than tearing the train apart for personal gain. Make a great gain by purchasing this wonderful film.
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