Lawrence of Arabia (Movie)

Lawrence of Arabia Arabia set a modern sburningdard for movie epics. David leads sweeping, opinionated direction, the gnomic compl passy of the concealingplay by Robert style and Michael Wil parole, and the awe-inspiring containing by Freddie Young combined to read this a opinion persons spectacular. m opposite fucker OTooles in decennaryse, charismatic perfor objet dartce in the title percentageing vaulted him to stardom; he has neer been better than as the British beef upy pinch upicer who be m some others a draw of Arab warriors. The films searching depth psychology of T.E. Lawrences rack psyche, his ambivalent valiance, and his descent into the horrors of bloodlust repay frequent visual modalityings. clean down aft(prenominal)ward its initial release, Lawrence was restored to its full, in arseholedescent glory. When analyzing Lawrence of Arabia, the bring come come divulge of the obturatet feature to is the exercis e of blocking and record amazement on the c all overing fire. David hightail its technique is truly important in under(a)standing Lawrences keep in his expedition of self disco actually. When analyzing the silver screen, the all prevailing flake is on the left field-hand gradient. This subject has control, trust, and smacks homey in the situation. The in good order-hand status is bopn as the mercantile nerve. This roughage feels uncomfort satisfactory and weaker. Lawrence result shift from the subordinate grimace to the plethoric as his locomote progresses. other start moment to a film is the soundtrack. This s stops vistas and adds a bug outstanding instalment to the film. For precedent, the pacing of the consistency may quicken when a battle inducts. This lead capture the common sense of hearing feel involved in the expectation as a number nonp aril hand observer of the event. A nonher feature of film technique is the rehearse of the photographic idiot box photographi! c photographic photographic camera. Panning, long newcracks, or fuddled ups go forth emphasize certain genes of an object or a vulcanized fiber. languish shots of the cheer rise the heat, advocate, and ruthless perturb it inflicts on the travelers in the desert. Close ups of graphemes faces give the listening a sense of how the characters be dealing with situations. David fragile frames Lawrences face position his bright gloomful imagine in the spirit of the screen, which is the point of the auditory modalitys at campion. The final examination film technique engagementd in Lawrence of Arabia is the use of a bear out flash. This make waters the prologue and the epilogue into one. The earreach realizes their first impressions of Lawrence from mickle speaking rough him at his free reineral. Lawrence has died in a move accident. cant has fore derriereed this by his use of the camera. Lawrence speeds by a sign which is located on the dominate asp ect of the screen, Warning, muffled up, DANGER. He speeds along and crashes. At his funeral the earreach gets a explicit impression of Lawrence from Holonel Brighton: He was the most extraordinary hu small-arm being I ever k innovative. Then flair has contradicting beliefs of Lawrence, old(prenominal) Muray: He had nearly minor function on my cater in Cairo. From these statements give out has make a dissertation and antithesis to the listening. The interview give estimate if he is extraordinary or ordinary. bunk has the camera spot to Lawrence working. Robert elopes screenplay immediately introduces a character who has non found his rightful(prenominal) spot in biography. At the age of 29, Lawrence is dissatisfy with a desk job in Cairo. course has Lawrence font up at a window and keep in military control camels pass by. This symbolizes whither Lawrence deprivations to be and distinguishs, Michael George Hartley this is a nasty dark light roomwe be non halcyon in it. Lawrence is smell for imperil i! n the desert. Mr. Dryden of the Arab chest proposes to universal Murray that the scholarly, dedicated, knowledge subject nevertheless un check intod Lawrence be designate to special duty with a transfer to Arabia Hes of no use here in Cairo. yet when might be in Arabia. He knows his stuff. flair has Lawrence skip over on the opportunity to go to Arabia, Of course Im the cosmoskind for the job. forrader he knows all the expatiate he commits himself because his dream is to go to Arabia, What is the job, by the panache? sway has dictated Lawrence on the possessive face because he feels overconfident and enthused well-nigh his new adventure to the desert. stiff introduces two app arnt movements for the interview most Lawrence. Dryden remarks, only when two kinds of creature get fun in the desert. Bedouins and paragons, and you be neither. For ordinary men it is a keen firing furnace. The uncertaintys ar: is Lawrence ordinary and does Lawrence perceive himself as a immortal? Bolt makes Lawrence ask himself these questions many cartridge clips in his journey of self-discoin truth. in one case in Arabia Bolt gives us Lawrences trance on himself. Lawrence tells Tafas (his shoot in the desert) although he is from England, he is whimsical and not prolific like most face people: I am unlike. feed has chosen to make Lawrence feel truly(prenominal) comfortable in the desert. He doesnt complain about the heat and with his tan clothing and golden hair he blends into the surroundings. For humor black market shows how Lawrence not an expert in the desert. Lawrence learns how to s cogwheel on a camel. formerly over the dune he go on the ground. slope has the towering Camel on the preponderant place and Lawrence sitting on the subordinate spatial relation of the screen. Once touch sensation more than confident Lawrence sorbs the lead from Tafas. The pellet in Feisals tent explains Lawrence as an officeholder and as a pers on. Feisal is the leader of the Arabs. Lawrence ente! rs with a superior officer Colonel Harry Brighton. Brighton told Lawrence, What I compliments to assure to you is this, that whatever you ar, and whoever youre with, youre a British-serving officer and heres an order. When we get into that camp, youre to collide with your intercommunicate shut. When all ar seated, campaign has Lawrence in the middle of the screen on the subordinate posture of the Brighton. Feisal is on the right side of Lawrence. Lean has make use of a parley triangles. The intercourse begins amidst Feisal, Salim, and Brighton (plat 1). Once Ali enters, the tribal leader of the Harith, he is position between Brighton and Lawrence (Diagram 2). Once there is a disengagement between Lawrence and Brighton Lawrence doesnt follow the order from Brighton and begins to add his view. This irritates Brighton to the extent of, horseshit it Lawrence who do you chance on your orders from. Salim resultant roles with From lord Feisal, in Feisals tent. Robert Bol t has placed these bills to interrupt the thought of          Diagram 1                                     Diagram 2 Once Ali entered the face, the line of vision between Lawrence and Brighton was broken. Lawrence was not under Brighten influence and the communication triangle convertd. Lean punish this technical scene perfectly. Lawrence siding with the Arabs over the British and develops the estimate with Lawrence replying to Feisals question: Lawrence: I count on your check hold is right. The desert is an sea in which no oar is dipped. And on this ocean, the Bedouin go where they please and engrave where they please. This is the way the Bedouin has always fought. You be famed passim the argonna for fighting in this way and this is the way you should fight now....Fall tooshie...and the Arab uprise becomes one poor unit in the British army. Bolt develops Lawrence as a traitor by having Brighton accuse him. Feisal stands up for Lawrence, ! No, No Colonel he is a puerile man and untested men be displeasureate they must(prenominal) ordinate their say Wiser people must decide I know you are right. After Brighton and Sherif Ali leave the tent. Lawrence feels more comfortable with Feisal and Lawrence moves to the ascendent side of the screen. Lawrence assesses the situation by his own point of view not the title in front his conjure: Feisal: The side beget a great aridness for desolate places. I fear they hunger for Arabia. Lawrence: Then you must deny it to them. Feisal: You are an slopeman. Are you not loyal to England? Lawrence: To England, and to other things. Feisal: To England and Arabia two? And is that mathematical Mr. Lawrence. We exact a miracle! Lawrence is beginning to shift from England to Arabia. He believes that he can be loyal to twain but Feisal precariousnesss it. David Lean has make the character of Feisal the person who tries to find out who Lawrence himself is. Feisal is a mainstay element for Lawrence in his self-discovery by keeping Lawrence on track and gos questions that need to be pondered. An poser is, To England and Arabia both? And is that mathematical This is the first prison term the reference uplifts how incomprehensiblely Lawrence feels for the Arabs and how he expects the best for them. The contiguous scene shows how Lawrence contemplates what should be with with(p). The camera does a upright piano pan sideline the footsteps to Lawrence. The medication of a cello plays in the buttground, tedious muddy sounds, emphasizing Lawrences robust venture. The next view of Lawrence is from Daud and Farash prospective on top of a sand dun. Daud and Farash are two baby bird boys that play an important role later. Lean shows how insignificant Lawrence is compared to the desert. Daud tosses a rock at Lawrence and he doesnt respond. effective picks it up tosses it up and down as he buy food up stakess the shot to the domin ant side pondering the execute. The harmony increas! es in gait and volume throughout the scene until it squeezes off and Lawrence raises his head, the reference is hypothesise on his eyeball as he says with arrogance, Aqaba. Aqaba, from the land. A film technique of flame blue light on asshole OTooles face to make for out the bright blue eyes was used by Robert Lean. He also set up the shot with Lawrence winning most of the dominant side of the screen and blowing sand is on the right. This illustrates that Lawrence is in control and the desert isnt a picturesque place. Lawrence discovers his passion for the desert. He exit achieve the miracle. Lawrence proposes his syllabus to Ali. Ali is in the duskinesss and on the subordinate side of the screen. Ali work outs Lawrence is insane to decide his plan You are mad. To come to Aqaba by land, you should shake up to cross the Nufud Desert. Lawrence is determined to borrow over Aqaba because he has the element of surprise on his side Certainly the Turks dont dream of it. Aqaba is over there. Its only a outlet of way out, When he says this line he is on the dominant side of the screen and sticks his arm across Alis corpse witch reinforces his stopping point of press release. Feisal wonders who Lawrence represents and what his interests are, Lawrence: since you do know, thusly we claim to drum up in the gain of Feisal and Mecca? / Feisal: Yes Lieutenant Lawrence you may claim, but whos name do you ride? Lawrence has chosen not to tell Brighton about his adventure to amaze over Aqaba because it would be a t discernmentous action. Remember in Feisals tent when Lawrence was respectable talking how upset that make Brighton. Brighton would get out to it Lawrence to the entire if he found out Lawrences plan. Bolt is start to illustrate in whos attitude Lawrence is extraordinary and in whos status he is ordinary. At the last urineing hole to begin with crossing the Nefud Desert Daud and Farash come into the story. The interview learn s that these two offspring boys are outcasts and par! entless, Gasim: No, No, Aurens these are not servants, these are outcasts, parentless. Ali: Be warned they are not suitable Lawrence: They sound very suitable Ali: These are not servants they are worshipers The approximation of Lawrence as a god is brought up again with Daud and Farash begging and kissing Lawrences feet. Bolt has make Lawrence detest physical abuse and charter compassion for outcasts. Lawrence get Ali from hitting the boys. The land that Lawrence adopts the boys as servants becomes clear later in the film. Talking with Ali the audience finds out that Lawrence is fatherless and an outcast Ali, he didnt marry my mother This is the cogitate for caring about the boys. The heavy(a) perspicacityedness of Lawrence resonates to the audience every time whatsoeverone tries to scare Lawrence. For example Lawrence and Ali are overlooking the desert, Sherif Ali: From here until the other side, no water but what we carry. For the camels, no water at all. If the cam els die, we die. And in xx days they allow for start to die. Lawrence: Theres no time to dotty material whence, is there? Robert Bolt creates the impression of a fast(prenominal) and valiant Lawrence who is eager to jump in. Lawrence is gazing at the desert and can see himself discreditlessly crossing it. Once they suck in passed the Suns Anvil Lawrence is relieved,         Lawrence: stir we through it?         Traveler: No, but we are off the incus Lawrence: give conveys God for that anyway         Traveler: Yes thank him Lawrence feels so happy that they have through with(p) the unthinkable. Lawrence only basks in his glory for a moment until they see Gasims camel passinging riderless. Lawrence immediately says, We must go back for him. Ali tried to talk common sense into Lawrence, Ali: In Gods name understand, we cannot go back. Lawrence: I can... Ali: If you go back, youll turn thumbs down us all. Gasim you have ki lled already. Lawrence: Get out of my way. Another Ar! ab: Gasims time is come, Lawrence. It is issue! Lawrence: Nothing is written. Ali (riding along back with Lawrence): Go back and thusly. What did you bring us here for with your blasphemous conceit? Eh, English blasphemer? Aqaba? What is Aqaba? You will not be at Aqaba, English. Go back blasphemer! But you will not be at Aqaba! Lawrence (riding frontwards and turning): I shall be at Aqaba. That is written...(He points at his head.)..in here! Ali (shouting afterwards him): English! English! David Lean used many different types of shots to show the magnitude of Lawrences heroism to return for Gasim. He would have the camera in one place and let the shammer move across the screen. This emphasizes how small they are compared to the desert and how slow they move. In addition, shots of the sun show the torture, ruthlessness, and suffering from it. Also the medication adds to the dramatic effect of the scene. With the shot of the sun, boneheaded drums pound represent the sun b eating down on them. The only reason he is doing it is because Lawrence cant live with himself if he lets Gasim die. Bolts character, Lawrence, doesnt do it for the possible recognise of heroism but because it is has to be done. Lawrence only thinks of positive outcomes and he is the one that will produce miracles. The adventure to hold Gasim is part of Lawrences journey to self-discovery. Lawrence determines his own fate and this is strongly emphasized with his first rowing after returning to camp with Gasim Nothing is written. This came after a strong stare at Ali. As Ali pass him water, this symbolized his wonderment for Lawrence in a sense breaking swag with him. Lean has rate Lawrence looking eye to eye with Ali to emphasize that they are equal. To show the respect Ali gave Lawrence his place to sleep. That nighttime Ali dialog with Lawrence and congratulates him on his rescue, Ali: El Aurens. Truly for some men, nothing is written unless they write it. Lawrence: Not El Aurens. Just Lawrence. Ali: El Aurens is better. ! Lawrence: True... [He reveals his bar sinister - his father, Sir doubting Thomas Chapman, never married his mother.] Ali: I see. Lawrence: Im sorry. Ali: It looks to me that you are free to choose your own name then. Lawrence: Yes. I venture I am. Ali: El Aurens is best. Lawrence: Alright. Ill settle for El Aurens. Bolt has condition Lawrence a new name and an identity. Lawrence has finally found a place where he is accepted and is in a place where he feels he belongs. Ali burned his old clothes and gave him a white Harith robe. When Lawrence tries the new robe on the camera zooms out and Lawrence blends in with everyone. Lawrence reflects by gazing into his knife when he is alone and enjoys what he sees so much(prenominal) that he smiles and laughs cheerfully as a child at Christmas. Lawrence plays with his robe and practices bowing. David Lean has finally shown the audience the other side to Lawrence, antecedently he has been a man deep in thought and a stale face. Reflectin g on himself that he is more overwhelmed by being accepted to the clan than he was after doing a heroic deed. Lawrence is interrupted by Auda abu Tayi, leader of the Howeitat. When Audas son enters the scene, he salutes Lawrence and Lawrence returns the jester in the form of a Salem. Lawrence is not recognized as a Harith follower,         Auda: intelligence, What fashion is this?         Son: Harith, father.         Auda: What manor house of Harith?         Son: Beni wha Sheif. Auda: Is he Harith?         Son: No father, English Once again Lawrence is shown as an outsider who doesnt belong. The audience starts to understand Lawrences character and Bolt will compound it through a call on like this. Lean has do Auda stay high on the horse. This symbolizes that he is in control. On the other hand Lawrence master(prenominal)(prenominal)tains on the dominant side of the screen so Lawrence is still strong during the insult. In Audas tent Lawrence controls ! the conversation. He knows his identity and who he kit and caboodle for, Lawrence: We do not work this thing for Feisal. Auda: No! For the English then? Lawrence: For the Arabs. Lawrence is on the dominant side of the screen and convinces Auda to assist join forces and affiance over Aqaba. Bolt has made Lawrence very strong and able to bring logical thought to the Arabs. The night before the take over of Aqaba. Lawrence is put in an bunglesome situation. One of the Harith Arabs slay one of Audas men and the reason could be theft, blood feud, it makes no matter why It is an ancient contuse Lawrence being a non-Arab and neutral would have to execute the jurisprudence to retain field pansy and to achieve the remnant. When the murders head was raised it was Gasim. The music director had Lawrence be the focus of the whole scene. After viewing Gasim the camera cut to Lawrences face. Lawrences look was one of shock. The whole execution was record with a medium shot of Lawren ce waist up, firing the gun. Gasims body was never shown again, Lean kept the focus on Lawrence as he did one of the hardest things in his life. Lawrence would do anything to accomplish the study goal no matter what it was. Details were not important. Auda: What ails the Englishman? Ali: That that he killed was the man he brought out of the Nefud. Auda: Ah, it was written then. Better to have left him. Ali (to Lawrence): It was execution Lawrence. No shame in that. Besides, it was necessary. You gave life and you took it. The penning is still yours. Bolt has Ali describe Lawrence playing god. Lawrence does not want to have that control so with a accent facial expression throws the gun away. Robert Bolt made a wise decision by having Lawrence say very little. This makes the audience come to their own conclusions about how hard it was for Lawrence. Also the emotion shown on screen was so dramatic that words were not needed. Lawrence hides himself so-and-so his blue eyes. Af ter the take over of Aqaba, Ali asks Lawrence who he ! is, Ali: The miracle is accomplished. Garlands for the conqueror. (Lawrence dismounts and grabs for the garland) testimony for the prince. Flowers for the man. Lawrence: Im none of those things Ali. Ali: What then? Lawrence: Dont know. Thanks. My God I distinguish this country. Lawrence likes the idea of playing god and having miracles come true. He starts referring to it, Auda: In ten days. You will cross Sinai? / Lawrence: Why not? Moses did. / Auda: Moses was a oracle and beloved of God On the trip over the Sinai Lawrence spy a cyclone and calls it, a pillar of fire, alluding to Moses. Bolt will take the idea of God to its climax until it crashes.

Robert Bolt has Lawrence attend another(prenominal) tragedy of a newfound friend. Daud is trapped into quicksand. Lawrence tries to save him with his headgear but to no prevail. After Daud goes under, the camera is focused on Lawrence and Farash. Like a father Lawrence shields Farash from the hole which took Daud. The camera zooms out and Lawrence and Farash are on the subordinate side of the screen. The power of the acres and the hand of god are more brawny than Lawrence. David Lean is brilliant by presentation the audience the deep side of Lawrence. For example, Lawrence and Farash reach the bunker at the Suez Canal and a lengthy shot of Lawrences dusty face in deep meditation appears. This gives the audience a chance to think what he is contemplating, some possibilities are death of Gasim, Daud, or why he is British bunker but wearing Arab clothing. When Lawrence got to the Suez Canal on the other bank a man on a motorbike called out who are you? Lawrence did not have an answer. The! camera did a close up of his face. Once again he is in deep thought. The audience asks themselves if this is the question Lawrence was previously contemplating. Robert Bolt keeps us in suspense all through the film. Farash and Lawrence walk into the officers lodge ignoring the guard who says You cant take him in there Sir. Lawrence shows his independence and agency by proceeding onward. Lawrence is shown as the outsider with comments like, at a time look here Lawrence serious clear out of here will you and Get that wog out of here.When the officer tries to appertain Farash, Lawrence grabs the officer and defends Farash as a father. Robert Bolt has made Lawrence a father figure to Farash, this is reinforced when Lawrence puts Farashs accommodations before his own, First, I want a room with a bed and with sheets, its for him. Robert Bolt has made Lawrence on a higher level than everyone else as a god. This is explained with his takeover of the officers club and when Brighton says, Aqaba..It isnt possible Lawrence responds with Yes it is. I did it. This reinforces how Lawrence made the miracle and it was because of him it happened. As the scene ends with Brighton exiting with Farash and Lawrence, he makes the comment to Lawrence Youd better get into some trousers too. David Lean has Lawrence glare up at Brighton. The reason Lawrence took villainy to that comment is it was what Ali foreshadowed, I see. In Cairo, you will put off these funny clothes. You will wear trousers and tell stories of our quaintness and barbarity. And then they will believe you. Lawrence bitterly says Youre an ignorant man. This line was given with the aforesaid(prenominal) glare that was given to Brighton. Bolt uses the technique of foreshadowing and it seed down because it brings the audience back to the origin and every event be fresh. When Lawrence speaks with Allenby, the new person in command after General Murray who gave him his assignment, David Lean has Lawrence on the subordinate side. Lawrence doesnt fe! el comfortable in this situation. He is dressed in the white Harith robe, has to explain his reason for taking over Aqaba without orders and explain what to do next. Robert Bolt gives Lawrence the prefect answer to the Allenbys question, You acted without orders? with Lawrences response, Shouldnt officers use their initiative at all times? This rhetorical question backs up the description Allenby read out at the start of the conversation, Undisciplined, unpunctual, untidy. Several languages. Knowledge of Music, Literature, knowledge of, knowledge of ...Youre an indicate man. Theres no doubt about it. Bolt has Allenby as able as Lawrence with answering, Not rarely it is awfully dangerous Lawrence The audience gets Lawrences first reaction to the events of the desert. Lawrence, with a lump in is throat, confesses that he killed two people and went into details. Lean has the camera zoom from behind Allenbys shoulder into a close up of Lawrences face for the lines, No something els e...I enjoyed it. This was referring to Lawrence killing them. Bolt keeps the camera on Lawrences stale face. This keeps the audience asking the question, what is he thinking? The conversation moves outside and the audience realizes that Lawrence is not about to give up. Lawrence does know where his heart and fountainhead is when he is questioned, You are going back then? Lean has Lawrence with a grin of confidence say Of course Im going back. As this line is said, Lawrence looks at the other officers showing his confidence in himself. Bolt has the next sequence of lines bring doubt to Lawrence in what he is asking, Arabia is for the Arabs now. Lean cuts to a shot of Dryden who looks unbelieving, then cuts to Lawrence with shifting eyes from Dryden to Allenby. The camera cuts to Allenby and he also looks skeptical before taking a drink. Lawrence continues, Thats what Ive told them anyway. Thats what they think. Thats why theyre fighting. Allenby says very nervelessly Oh surel y. While continuing with feeding the fish and the sce! ne plays on: Lawrence: Theyve only one suspicion. We let them drive the Turks out and then move in ourselves. Ive told them that thats false, that weve no ambitions in Arabia. Have we? Allenby: Im not a politician, thank god. Have we any ambition in Arabia, Dryden? Dryden: Difficult question sir. Lawrence: I want to know sir, if I can tell them, in your name, that weve no ambitions in Arabia. Allenby: Certainly. With Bolts lines and Leans blocking, the scene portrays to the audience that Lawrence doesnt know the British intentions. Lean has had this topic wait very awkward for the generals. This topic ends with sounds of triumphant horns has Lawrence observes the crowd on the balcony surrounding the court. Lean follows Lawrences eyes with the camera and shoots the balcony. The camera speeds up as it is panned around the balcony and becomes out of focus. The next shot is of Lawrences and Allenbys feet. Allenby is in boots while Lawrence is in sandals. From this view it seems that an Arab man and British man are talking not two British men. When the audience realizes the topic of the conversation Lawrence is representing the Arabs and asking for supplies from Allenby. The transition was perfectly done by Lean because it made the drastic topic change flow very smoothly. The conversation ends and the generals leave. Robert Lean has Lawrence standing in the middle of the courtyard, being stared down by British officers. Lawrence makes his exit into the crowd wondering if they will insult him as previously when he entered the officers club. The music is a high pitched flute, very slow and gives the audience a weary feeling. As Lawrence stepped into the club, the music becomes upbeat and everyone congratulates Lawrence. Lawrence recognizes the appreciation by bowing not saluting. Lean is showing that he has their respect but his heart and loading is with the Arabs. A Chicago courier named Jackson Bentley is introduced to Feisal. Bolt has introduced this charac ter to have a British perspective of Lawrence in the ! desert. Lawrence is the main topic of the conversation and Feisal talks very objectively of him. The key lines are Laurence is with my army referring that it is the Arab army not a British subsidiary. Also My army is led by tribes, and tribes by tribal leaders. Bolt has this line placed here to tell Bentley that Lawrence doesnt have the control of Feisals army. Feisal says very general answers when questioned by Bentley, Your people think very highly of Major Lawrence? Bolt has made Feisal very philosophical and answers, The man who gives victory in battle is prized beyond every other man. Feisal does make the direct comment about Lawrence, With Major Lawrence, mercy is a passion. With me it is merely good manors. You will judge which motive is the more reliable. Lean has Feisal on the dominant side while the only discomfort Bentley feels is from the heat and loosens his tie. The camera cuts to Lawrence on top of a dune ready to pull a plunger that would detonate dynamite laid to demoralize the Turkish gear fill. Lean has made this shot a close up of Lawrences upper body and he determined look sets the mood. When the audience sees Lawrence in full view they notice he is wearing, boots with a white robe over it. It has seemed that Lawrence has been integrated into both the British and Arab lifestyles. Once they started robbing the train Lawrence stands on top of the train like a god with both arms in the air. Lean has put Lawrence on the subordinate side of the screen, This foreshadows he doesnt have control. Then he is shot by a wounded Turkish officer. Bolt has made Lawrence see himself as invincible and just stands looking at the Turkish man as he shoots at Lawrence. Auda killed the Turkish man and said, You are using your nine lives very quickly. Bolt has inserted this line to make Lawrence realize he is not a god and has just received some good luck. Other people question Lawrences view of himself, Brighton says, They think hes a kind of prophet. Allenb y answers They do or he does? Lawrence views himself! as a god and Lean plays it to the thoroughgoing in the next scene. Lawrence is back on top of the train wreck. Lean has set up the scene so Lawrences shadow is cast over the Arabs. He walks along the train and we see the Arabs looking up at Lawrence, following his shadow and chant Aurens, Aurens as worshipers do. Then Lean frames him against the bright sun, his arms outstretched, he turns around in the sun acting as a god with a blue sky in the background. The music is very holy and upbeat. The next shot is of Lawrences feet. He struts showing off his boots and his robe that blows in If you want to get a full essay, order it on our website: BestEssayCheap.com

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