If you would like to wear (or even simply possess) a pair of sandals that the real Lawrence of Arabia wore during his legendary quest to defeat the Turks and form a united Arab state in the Middle East, you can do so if you are the highest bidder at the December 19 auction in Derbyshire, UK. You could literally walk in the shoes of the man who inspired this week’s BP, Lawrence Of Arabia (1962; Horizon Pictures, Ltd., Columbia). Pretty neato.
It’s difficult to determine which has made a greater impact on modern society, the real T.E. Lawrence or the film version of his life. Here we have another motion picture whose title gets tossed around in conversations that start with “Name the greatest movie of all time.” Personally, I found Lawrence of Arabia to be a compilation of stunning shots of desert vistas set to a glorious score amid the exaltation of the often questionable exploits of a psychologically damaged human being—not to say that Lawrence didn’t have more guts than the average person. Numerous times in the film Lawrence himself insists that he is above ordinary, and perhaps that was true.
The striking motion picture made about his extraordinary life captured seven Oscars out of ten nominations: Film Editing, Art Direction (Color), Cinematography (Color), Music (Music Score—substantially original), Sound, Directing for David Lean (he had previously won for The Bridge on the River Kwai), and Best Picture. The film failed to take home trophies for Writing (Screenplay—based on material from another medium), Actor in a Supporting Role for Omar Sharif as Sherif Ali, and (perhaps most surprising) Best Actor for Peter O’Toole as T.E. Lawrence. Lawrence of Arabia’s biggest competition at the 1963 Academy Awards came from the lovely black-and-white classic adaptation of Harper Lee’s To Kill a Mockingbird—thus the reason for Lawrence of Arabia’s lack of success in the Writing category. Plus, my heart rests a little easier in knowing that O’Toole’s denial of Oscar glory was due to Gregory Peck’s fabulous portrayal of Atticus Finch—what could be one of the most memorable performances by a lead male actor in the history of film. But as an English person, I’m a little biased toward literary masterpieces…
Lawrence’s real life, while indeed outrageous, was also beset with pain and difficulties. His legend paints him as both warrior and cultural phenomenon—able to insinuate himself into the Arab world like he was born there, masterminding ingenious attacks on Turkish bases of power, and even trying his hand at the diplomacy and political maneuvering it would take to establish a unified Arab Middle East. He wasn’t always successful in his endeavors during World War I. He was once taken captive by the Turks and subjected to torture that left him struggling from PTSD and which moved him to commit what could be termed war atrocities against his enemies.
Lawrence, his composition somehow lending itself to greatness, nonetheless seemed to struggle with his own identity and purpose. After his goal of a self-governed Arab state failed to be realized, he attempted to escape from his larger-than-life self, living under an alias; serving in menial roles in the British Army; and residing in a small, isolated cottage in England. Though Winston Churchill (as British Colonial Secretary) would persuade Lawrence to briefly help him try to resolve the crisis that occurred in the Middle East after World War I, Lawrence’s death in a motorcycle accident in 1935 eliminated any possibility of his return to aid his country in what would become an even more dire situation in World War II. Churchill mourned him, saying, “I deem him one of the greatest beings alive in our time. I do not see his like elsewhere. I fear whatever our need we shall never see his like again.”
Somehow, though, Lawrence transcends time. Even in the Middle East today, his legend survives, though his motives are perhaps less trusted than they were during the Great War. The film’s reputation likewise continues to thrive, consistently holding its ranking on top film lists and continuing to wow its viewers with its scale and beauty. I think the story of a relatively ordinary person thrust into extraordinary times and presented with rare opportunities appeals to all of us who want to leave an imprint on the world, to achieve something that really matters and will last.
The release of the film version of Lawrence’s story–regardless of the extent of its historical accuracy–came at a time when the United States and other parts of the world were again facing the dilemma of a prolonged war against an unfamiliar foe: Vietnam. But while the Vietnam War devoured young Americans abroad, the homefront was the stage of massive demonstrations–both of the anti-war type and the civil rights variety. In the waves of history, conflict just never dies. Like Lawrence earlier in the century, individuals were emerging in the 1960s to lead the way through the conflicts–men whose media-created images overshadowed lives filled with difficult choices and private tragedy. I think the epic sweep of Lawrence of Arabia is just as much about that inner struggle as it is about the more public adventures of one unique man.
If anyone is interested in some further reading on Lawrence of Arabia, here are a couple of sources I found interesting. The Smithsonian’s more comprehensive article about Lawrence’s life and lingering Arab reputation can be found here: https://www.smithsonianmag.com/history/true-story-lawrence-arabia-180951857/?spMailingID=21097645&spJobID=360468626&page=1&spReportId=MzYwNDY4NjI2S0&spUserID=NzQwNDYxMjA0NDkS1. An article explaining how Lawrence’s death eventually helped to decrease the number of motorcycle fatalities in Britain can be found here: http://www.bbc.com/news/magazine-32622465. And if you are interested in bidding for those sandals, go here first: http://www.bbc.com/news/uk-england-derbyshire-42236618.
For more thoughts on Lawrence of Arabia and its significance, please check out the full post (also this weekend)!
You must be logged in to post a comment.