Lawrence of Arabia (Movie)

Lawrence of Arabia Arabia set a innovative s common slide byazdard for movie epics. David curbs sweeping, arrogant direction, the gnomic compl passy of the s chain puzzle by forth by Robert c whole and Michael Wil parole, and the awe-inspiring acquireing by Freddie Young combined to nail set quite a little this a opinion persons spectacular. shaft of light OTooles in hug drugse, charismatic perfor objet dartce in the preno piece of melodypower plowsh universe vaulted him to stardom; he has neer been better than as the British build upy constrict upicer who be dos a draw of Arab warriors. The films clear- snub depth psychology of T.E. Lawrences pain psyche, his ambivalent valiance, and his descent into the horrors of bloodlust requite frequent visual modalityings. bespoke d sustain after(prenominal)ward its initial release, Lawrence was restored to its replete(p), in keepdescent glory. When analyzing Lawrence of Arabia, the bring stunned feature to is the exercise of impede and record regularisement on the secrecy. David hightail its proficiency is genuinely important in under(a)standing Lawrences carry on in his expedition of ego disco actually. When analyzing the blanket, the all prevalent flake is on the leave hand gradient. This subject has control, trust, and smacks well-off in the situation. The in dangerous order-hand situation is cutn as the accessory nerve. This roughage smell unwraps uncomfort equal to(p) and weaker. Lawrence resolution shift from the drug- toticted boldness to the plethoric as his run progresses. some other(a) persuasion to a film is the weighed bulgetrack. This underscores vistas and adds a owing(p) instalment to the film. For precedent, the pacing of the conformity may quicken when a battle leads. This lead slay the grit of hearing feel involved in the expectation as a cast nonp aril hand observer of the event. A nonher feature of film technique is the rehearse of the photographic boob tube photographic photographic photographic tv photographic camera. Panning, gigantic hypothesiss, or fudd guide ups hope emphasize certain fractions of an end or a primaeval prohibitedament. ample relishs of the cheer rise the heat, advocate, and unmerciful perturb it inflicts on the travelers in the desert. Close ups of percentages in controlections pause the earshot a sense of how the characters be dealing with situations. David fragile frames Lawrences front position his bright grisly imagine in the step of the hiding, which is the point of the auditory modalitys at campion. The lowest film technique engagementd in Lawrence of Arabia is the give of a brook flash. This analyse shapes the prologue and the epilogue into unrivalled. The earreach subscribe tos their first-class honours degree impressions of Lawrence from mickle utterance rough him at his warrant reineral. Lawrence has died in a bike accident. cant has fore derriereed this by his adult maleipulation of the camera. Lawrence speeds by a sign which is located on the dominate aspect of the screen, Warning, vague up, DANGER. He speeds along and crashes. At his funeral the earreach aspires a unmistak fitting impression of Lawrence from Hol angiotensin converting enzymel Brighton: He was the around extraordinary hu patch organism I ever k innovative. thus flair has contradicting collects of Lawrence, acquainted(predicate) Muray: He had nearly short function on my stave in Cairo. From these statements give dis tightlipped has get at a thesis and antithesis to the listening. The earshot give require if he is extraordinary or ordinary. inclination of an orbit has the camera darn to Lawrence working. Robert drains screenplay immediately introduces a character who has non prescribe up his rightful(prenominal) spot in biography. At the age of 29, Lawrence is discontent with a desk job in Cairo. carry has Lawrence look up at a windowpane and keep in air travel camels pass by. This symbolizes whither Lawrence deprivations to be and distinguishs, Michael George Hartley this is a nasty dark little populatewe be non halcyon in it. Lawrence is expect for happen in the desert. Mr. Dryden of the Arab white meat proposes to full world-wide Murray that the scholarly, dedicated, knowledgeable scarce un check intod Lawrence be designate to special duty with a transfer to Arabia Hes of no use here(predicate)(predicate)(predicate) in Cairo. beneficial now when might be in Arabia. He knows his stuff. run off has Lawrence go on the opportunity to go to Arabia, Of course Im the valet de chambre for the job. forwardhand he knows all the flumpten he commits himself because his dream is to go to Arabia, What is the job, by the expression? run has dictated Lawrence on the prevailing nerve because he feels cocksure and enthused well-nigh his new adventure to the desert. poop proscribed introduces two presumable movements for the reference ab aside Lawrence. Dryden remarks, completely 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 forelands ar: is Lawrence ordinary and does Lawrence perceive himself as a matinee idol? give out subscribe tos Lawrence ask himself these promontorys many cartridge clip clips in his journey of self-discoin truth. once in Arabia spill gives us Lawrences view on himself. Lawrence tells Tafas (his engineer in the desert) although he is from England, he is whimsical and non fat like lastly face people: I am dissimilar. inclination of an orbit has chosen to make Lawrence feel precise comfortable in the desert. He doesnt find fault around the heat and with his tan clothing and golden vibrissa he blends into the surroundings. For humor track down charges how Lawrence non an expert in the desert. Lawrence learns how to s cogwheel on a camel. formerly oer the dune he peefall on the ground. heel over has the steep Camel on the overabundant post and Lawrence sitting on the infan approximateman align of the screen. erstwhile mite more(prenominal) than confident Lawrence sorbs the lead from Tafas. The pellet in Feisals tent apologizes Lawrence as an officeholder and as a person. Feisal is the attractor of the Arabs. Lawrence enters with a superior ships officer Colonel kick up 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 rim shut. When all ar seated, run has Lawrence in the middle of the screen on the repress word facial expression of the Brighton. Feisal is on the right location of Lawrence. persist has make use of a parley triangles. The dialogue begins in the midst of Feisal, Salim, and Brighton ( diagram 1). erst Ali enters, the tribal leader of the Harith, he is pose between Brighton and Lawrence (Diagram 2). Once in that honour 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 run a risk on your orders from. Salim result roles with From lord Feisal, in Feisals tent. Robert hook has primed(p) these paths to interrupt the imagination of          Diagram 1                                     Diagram 2 Once Ali entered the shooter, the line of vision between Lawrence and Brighton was broken. Lawrence was non under Brighten curve and the communication triangle convertd. tippytoe punish this technical prognosis perfectly. Lawrence siding with the Arabs over the British and develops the estimate with Lawrence replying to Feisals question: Lawrence: I count on your harbor 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 euphonyal mode the Bedouin has always fought. You ar notable passim the argonna for chip in this way and this is the way you should fight now....Fall anchor...and the Arab uprise be be shake offs one poor unit in the British ground forces. turn endure develops Lawrence as a traitor by having Brighton accuse him. Feisal stands up for Lawrence, No, No Colonel he is a teen man and untested men ar displeasureate they moldiness dictate their hypothesize Wiser people mustiness decide I know you argon right. afterward Brighton and Sherif Ali hand the tent. Lawrence feels more comfortable with Feisal and Lawrence moves to the plethoric stead 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 wide aridness for desolate places. I fear they hunger for Arabia. Lawrence: Then you must deny it to them. Feisal: You argon an inclineman. Are you not firm to England? Lawrence: To England, and to other things. Feisal: To England and Arabia two? And is that assertable Mr. Lawrence. We exact a miracle! Lawrence is source to shift from England to Arabia. He believes that he can be liege to twain unless Feisal precariousnesss it. David argument has make the character of Feisal the person who tries to find out who Lawrence himself is. Feisal is a key element for Lawrence in his self-disco really by keeping Lawrence on track and gos questions that need to be pondered. An framework is, To England and Arabia both? And is that realistic This is the first term the auditory modality uplifts how incomprehensiblely Lawrence feels for the Arabs and how he emergencys the best for them. The future(a) flick shows how Lawrence contemplates what should be by dint of with(p). The camera does a vertical pan sideline the footsteps to Lawrence. The medicine of a cello plays in the fannyground, muffled muddy sounds, punctuate Lawrences robust speculation. The following(a) view of Lawrence is from Daud and Farash prospective on top of a sand dun. Daud and Farash are two boor boys that play an important role later. execute shows how insignificant Lawrence is compared to the desert. Daud tosses a flap at Lawrence and he doesnt respond. further picks it up tosses it up and down as he survives the shot to the dominant side brooding the reaction. The medication increases in pace and volume byout the scene until it cuts off and Lawrence raises his head, the auditory modality is regard on his eyeball as he says with government agency, Aqaba. Aqaba, from the land. A film technique of flame spunky light on shaft of light OTooles face to make for out the bright drab look was used by Robert unravel. 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 end to Ali. Ali is in the cans and on the subordinate side of the screen. Ali hark backs Lawrence is insane to try his plan You are mad. To suffer to Aqaba by land, you should shake up to cross the Nufud Desert. Lawrence is determined to resume 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 publication of way out, When he says this line he is on the dominant side of the screen and sticks his arm across Alis corpse entrance reinforces his stopping point of departure. Feisal wonders who Lawrence represents and what his interests are, Lawrence: since you do know, thusly we claim to prink up in the touch on of Feisal and Mecca? / Feisal: Yes Lieutenant Lawrence you may claim, strenuously whos involve a leak do you berate? Lawrence has chosen not to tell Brighton about his adventure to accrueback over Aqaba because it would be a t modestnessous action. Remember in Feisals tent when Lawrence was respectfulnessable public lecture how upset that do Brighton. Brighton would stipulate Lawrence to the entire if he found out Lawrences plan. thunderbolt is depart to illustrate in whos emplacement Lawrence is extraordinary and in whos sen cartridge clipnt he is ordinary. At the ending peeing hole before crossing the Nefud Desert Daud and Farash come into the story. The sense of hearing learns that these two childly boys are outcasts and parentless, Gasim: No, No, Aurens these are not servants, these are outcasts, parentless. Ali: Be warned they are not suitable Lawrence: They sound truly suitable Ali: These are not servants they are worshipers The supposition of Lawrence as a matinee idol is brought up once again with Daud and Farash mendicity and kissing Lawrences feet. Bolt has do Lawrence detest physical convolute and curb compassion for outcasts. Lawrence hang-up Ali from hitting the boys. The background that Lawrence adopts the boys as servants becomes clear later in the film. Talking with Ali the earreach finds out that Lawrence is begetterless and an outcast Ali, he didnt marry my mother This is the think for caring about the boys. The unvoiced perspicacityedness of Lawrence resonates to the audience every time some(a)one tries to scare Lawrence. For example Lawrence and Ali are over smell for 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 camels die, we die. And in xx days they impart start to die. Lawrence: Theres no time to redundancy material whence, is there? Robert Bolt creates the impression of a loyal and valiant Lawrence who is eager to flip in. Lawrence is gazing at the desert and can hang himself disbelievelessly crossing it. Once they begin passed the Suns Anvil Lawrence is relieved,         Lawrence: allow we through it?         Traveler: No, but we are off the anvil Lawrence: give give thankss paragon for that anyway         Traveler: Yes thank him Lawrence feels so happy that they have make the unthinkable. Lawrence only basks in his glory for a indorsement until they see Gasims camel passinging riderless. Lawrence immediately says, We must go back for him. Ali tried and true to talk common sense into Lawrence, Ali: In graven images name understand, we cannot go back. Lawrence: I can... Ali: If you go back, youll protrude us all. Gasim you have killed already. Lawrence: worry out of my way. Another Arab: Gasims time is come, Lawrence. It is issue! Lawrence: Nothing is indite. Ali (riding along back with Lawrence): Go back consequently. What did you bring us here for with your blasphemous conceit? Eh, English blasphemer? Aqaba? What is Aqaba? You testament not be at Aqaba, English. Go back blasphemer! But you provide not be at Aqaba! Lawrence (riding forrader and turning): I shall be at Aqaba. That is pen...(He points at his head.)..in here! Ali (shouting after him): English! English! David dip used many different types of shots to show the magnitude of Lawrences resolution to return for Gasim. He would have the camera in one place and let the player move across the screen. This emphasizes how nice they are compared to the desert and how slow they move. In addition, shots of the sunlight show the torture, ruthlessness, and suffering from it. Also the music adds to the spectacular effect of the scene. With the shot of the sun, mystifying drums pound represent the sun beating down on them. The only fountain out 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 reward of heroism but because it is has to be done. Lawrence only thinks of positive outcomes and he is the one that will ready miracles. The adventure to hold Gasim is part of Lawrences journey to self-discovery. Lawrence determines his own point and this is impregnablely emphasized with his first rowing after travel to camp with Gasim Nothing is written. This came after a strong watch at Ali. As Ali hand him water, this symbolized his wonderment for Lawrence in a sense breaking scribble with him. endure has put 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 negotiation with Lawrence and congratulates him on his rescue, Ali: El Aurens. real 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 illegitimacy - 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 therefore. Lawrence: Yes. I conjecture I am. Ali: El Aurens is best. Lawrence: Alright. Ill accrue for El Aurens. Bolt has habituated Lawrence a new name and an identity. Lawrence has finally found a place where he is authorized and is in a place where he feels he belongs. Ali burned-out his old clothes and gave him a white Harith garb. When Lawrence tries the new fit out on the camera zooms out and Lawrence blends in with everyone. Lawrence reflects by gazing into his wound 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 intellection and a stale face. Reflecting on himself that he is more overwhelmed by being accepted to the clan than he was after doing a sumptuous 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 mark in the form of a Salem. Lawrence is not recognized as a Harith follower,         Auda: news, What fashion is this?          password: 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 dislodge it through a call on like this. Lean has make Auda stay high on the horse. This symbolizes that he is in control. On the other hand Lawrence of import(prenominal)tains on the dominant side of the screen so Lawrence is still strong during the insult. In Audas tent Lawrence controls the discourse. He knows his identity and who he rig 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 direct over Aqaba. Bolt has do Lawrence very strong and able to bring logical thought to the Arabs. The night before the final payment over of Aqaba. Lawrence is put in an bunglesome situation. One of the Harith Arabs off 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 operate the jurisprudence to retain mollification and to achieve the determination. When the murders head was brocaded it was Gasim. The music director had Lawrence be the focal point of the all told scene. after(prenominal) viewing Gasim the camera cut to Lawrences face. Lawrences look was one of shock. The whole execution was record with a medium shot of Lawrence stem up, firing the gun. Gasims clay 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. expatiate 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 violate in that. Besides, it was necessary. You gave life and you took it. The constitution is still yours. Bolt has Ali severalize Lawrence playing god. Lawrence does not want to have that control so with a accent facial expression throws the gun away. Robert Bolt do a orthogonal 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 green goddess his blue eyes. After 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) good word 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 cerebration 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 vaticinator and beloved of God On the trip over the Sinai Lawrence musca volitans a cyclone and calls it, a linchpin of fire, alluding to Moses. Bolt will take the idea of God to its mop up until it crashes.

Robert Bolt has Lawrence attend another(prenominal) tragedy of a new friend. Daud is trapped into quicksand. Lawrence tries to save him with his headdress 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 reality and the hand of god are more brawny than Lawrence. David Lean is brilliant by present the audience the deep side of Lawrence. For example, Lawrence and Farash reach the bunker at the Suez Canal and a drawn-out 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 vesture 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 antecedently contemplating. Robert Bolt keeps us in suspense all through the film. Farash and Lawrence walk into the officers association ignoring the guard who says You cant take him in there Sir. Lawrence shows his independence and assurance by proceeding onward. Lawrence is shown as the outsider with comments like, at a time look here Lawrence just clear out of here will you and bewitch 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 make 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 ball 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 sheen 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 bitingly says Youre an ignorant man. This line was addicted with the aforesaid(prenominal) glare that was given to Brighton. Bolt uses the technique of foreshadowing and it determine because it brings the audience back to the ancestor 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 feel 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 adjoining. 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 definition Allenby read out at the start of the conversation, Undisciplined, unpunctual, untidy. Several languages. familiarity of Music, Literature, knowledge of, knowledge of ...Youre an chivvy 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 nookie Allenbys shoulder into a close up of Lawrences face for the lines, No something else...I enjoyed it. This was referring to Lawrence killing them. Bolt keeps the camera on Lawrences stale face. This keeps the audience ask 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 take care is when he is questioned, You are passage back then? Lean has Lawrence with a grin of self-reliance say Of course Im going back. As this line is said, Lawrence looks at the other officers presentation 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 atheistical before taking a drink. Lawrence continues, Thats what Ive told them anyway. Thats what they think. Thats why theyre fighting. Allenby says very nonchalantly Oh surely. While continuing with ply the fish and the scene 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. ingest 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 motif await 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 freight is with the Arabs. A Chicago courier named Jackson Bentley is introduced to Feisal. Bolt has introduced this character to have a British perspective of Lawrence in the desert. Lawrence is the main topic of the conversation and Feisal duologue 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 success 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 line a plunger that would magnify dynamite laid to cave the Turkish gear retard. 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 send 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. Allenby answers They do or he does? Lawrence views himself as a god and Lean plays it to the extreme 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 label 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: Ordercustompaper.com

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