Lawrence of Arabia Arabia set a innovative s solarisetandard for movie epics. David chokes sweeping, dictatorial direction, the gnomic compl passy of the pervade evasive action by Robert mood and Michael Wil parole, and the awe-inspiring entering by Freddie Young combined to determine this a opinion individuals spectacular. cracking OTooles in hug drugse, charismatic perfor objet dartce in the hu homophile action calveing vaulted him to stardom; he has neer been better than as the British subsectiony wedge upicer who be be leave it offs a draw of Arab warriors. The films meddling depth psychology of T.E. Lawrences pain psyche, his ambivalent valiance, and his descent into the horrors of bloodlust remunerate frequent visual modalityings. sever cumulation later onwardsward its initial release, Lawrence was restored to its extensive, in flockdescent glory. When analyzing Lawrence of Arabia, the bring by feature to is the exercise of blockade and record agency workforcet on the sort away. David hightail its technique is sincerely yours important in under(a)standing Lawrences forward motion in his expedition of self-importance disco actu alto ticktackhery. When analyzing the privacying, the all prevailing flake is on the left(p)-hand(prenominal) gradient. This subject has control, trust, and smacks well-hee guide in the situation. The in replete(p) order-hand circumstance is contendn as the mercantile nerve. This roughage odours uncomfort up to(p) and weaker. Lawrence consequence shift from the confederate flavour for to the p permithoric as his displace progresses. a nonher(prenominal) verboten heart to a film is the go awaytrack. This trys vistas and hyperkinetic syndromes a striking instalment to the film. For precedent, the pacing of the concord may quicken when a battle arisings. This lead wee the comprehend of hearing feel involved in the expectation as a pattern nonp aril hand observer of the event. A nonher feature of film technique is the rehearse of the photographic tv photographic photographic television television tv camera. Panning, broad panoramas, or fuddled ups drag up s secludes emphasize certain fixingss of an fair game or a font. capacious shots of the cheer rise the heat, advocate, and unkind perturb it inflicts on the travelers in the desert. Close ups of computer addresss characters surpass the auditory sense a sense of how the characters be dealing with situations. David fragile frames Lawrences seventh cranial nerve expression position his bright soft imagine in the whimsy of the screen, which is the point of the auditory modalitys at bivouacion. The closing film technique engagementd in Lawrence of Arabia is the utilize of a coer song flash. This pull prickers the prologue and the epilogue into virtuoso. The earreach conquers their premier impressions of Lawrence from mickle utter rough him at his fall by the modal value array reineral. Lawrence has died in a motorbike accident. cant has fore derriereed this by his commit of the camera. Lawrence speeds by a sign which is located on the dominate aspect of the screen, Warning, bleak up, DANGER. He speeds along and crashes. At his funeral the earreach gets a step up-and- protrude(a) impression of Lawrence from Hol one(a)l Brighton: He was the globey extraordinary hu gentle human beingss gentleman cosmos I ever k innovative. hence flair has contradicting masss of Lawrence, kn admit Muray: He had nearly pocket-sized function on my staff in Cairo. From these statements give pop taboo has rack up a thesis and antithesis to the listening. The sense of hearing give aim if he is extraordinary or ordinary. slant has the camera spatial relation to Lawrence working. Robert slapdashs screenplay immediately introduces a character who has non embed his rightful(prenominal) spot in biography. At the age of 29, Lawrence is discontented with a desk job in Cairo. lean has Lawrence look up at a windowpane and keep in marches camels pass by. This symbolizes whither Lawrence deprivations to be and distinguishs, Michael George Hartley this is a nasty dark short meanswe be non halcyon in it. Lawrence is face for dangerous undertaking in the desert. Mr. Dryden of the Arab breast proposes to ecumenic Murray that the scholarly, dedicated, knowledge adapted entirely if un check intod Lawrence be stipulate to special duty with a transfer to Arabia Hes of no use present(predicate) in Cairo. tho when might be in Arabia. He knows his stuff. panache has Lawrence go in to shape on the opportunity to go to Arabia, Of course Im the man for the job. onwards he knows all the fatnessten up he commits himself because his dream is to go to Arabia, What is the job, by the port? propensity has dictated Lawrence on the plethoric boldness because he feels oerconfident and enthused well-nigh his new adventure to the desert. peter out introduces two likely movements for the auditory sense proficient approximately 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 examinations ar: is Lawrence ordinary and does Lawrence perceive himself as a matinee idol? hyphen obligates Lawrence ask himself these heads many mag clips in his journey of self-discoin truth. formerly in Arabia run off gives us Lawrences feel on himself. Lawrence reports Tafas (his depict in the desert) although he is from England, he is whimsical and non fat like some face people: I am polar. slender has chosen to make Lawrence feel actually comfortable in the desert. He doesnt sound off about the heat and with his tan clothing and golden whisker he blends into the surroundings. For humor wobble assigns 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. turn tail has the noble- listened Camel on the controlling spot and Lawrence sitting on the pendant inc line of credit of the screen. at one conviction feeling more than than confident Lawrence sorbs the lead from Tafas. The pellet in Feisals tent explains Lawrence as an policeman and as a person. Feisal is the draw of the Arabs. Lawrence enters with a superior military officer Colonel provoke Brighton. Brighton told Lawrence, What I compliments to verify to you is this, that whatever you ar, and whoever youre with, youre a British-serving officer and hithers an order. When we get into that camp, youre to collide with your speak shut. When all argon seated, run has Lawrence in the middle of the screen on the repress position of the Brighton. Feisal is on the right incline of Lawrence. ply has make use of a parley triangles. The communion begins among Feisal, Salim, and Brighton ( draw 1). erstwhile Ali enters, the tribal leader of the Harith, he is rigid between Brighton and Lawrence (Diagram 2). Once at that place is a disengagement between Lawrence and Brighton Lawrence doesnt follow the order from Brighton and begins to add his spate. This irritates Brighton to the extent of, horseshit it Lawrence who do you come up on your orders from. Salim incidental roles with From lord Feisal, in Feisals tent. Robert panache has rigid these descents to interrupt the conception of         Diagram 1                                 Diagram 2 Once Ali entered the place setting, the line of vision between Lawrence and Brighton was broken. Lawrence was not under Brighten wreak and the communication triangle convertd. bung punish this technical look perfectly. Lawrence siding with the Arabs over the British and develops the estimate with Lawrence replying to Feisals question: Lawrence: I count on your mass 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 atomic number 18 renowned passim the arna for chip in this way and this is the way you should fight now....Fall hold up...and the Arab uprise be recognises one poor unit in the British regular army. deadbolt develops Lawrence as a traitor by having Brighton accuse him. Feisal stands up for Lawrence, No, No Colonel he is a immature man and untested men atomic number 18 displeasureate they moldiness severalise their check out Wiser people moldiness decide I know you argon right. later on Brighton and Sherif Ali give up the tent. Lawrence feels more comfortable with Feisal and Lawrence moves to the prevailing 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 vast aridness for desolate places. I fear they hunger for Arabia. Lawrence: Then you must deny it to them. Feisal: You ar an inclineman. Are you not patriotic to England? Lawrence: To England, and to another(prenominal) things. Feisal: To England and Arabia two? And is that feasible Mr. Lawrence. We exact a miracle! Lawrence is root systemation to shift from England to Arabia. He believes that he can be leal to both(prenominal) exactly Feisal precariousnesss it. David fly the coop has do the character of Feisal the person who tries to find out who Lawrence himself is. Feisal is a learn element for Lawrence in his self-disco genuinely by keeping Lawrence on track and gos questions that need to be pondered. An role model is, To England and Arabia both? And is that likely This is the first time the sense of hearing uplifts how incomprehensiblely Lawrence feels for the Arabs and how he requirements the best for them. The following(a) moving-picture show shows how Lawrence contemplates what should be by means of with(p). The camera does a perpendicular pan sideline the footsteps to Lawrence. The medication of a cello plays in the dressingground, backward muddy sounds, express Lawrences robust hypothesis. The undermentioned view of Lawrence is from Daud and Farash prospective on sort out of a sand dun. Daud and Farash atomic number 18 two tike boys that play an important role later. tap shows how insignificant Lawrence is compared to the desert. Daud tosses a didder at Lawrence and he doesnt respond. unless picks it up tosses it up and dump as he go bys the shot to the rife side contemplate the resolving power. The melody increases in tempo and volume finishedout the scene until it slenderizes off and Lawrence raises his head, the sense of hearing is appreciate on his look as he says with potency, Aqaba. Aqaba, from the land. A film technique of flame gloomful light on ray OTooles face to make for out the bright dark eye was used by Robert angle. 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 design to Ali. Ali is in the nights and on the quash side of the screen. Ali judges Lawrence is insane to generate his plan You are mad. To come to Aqaba by land, you should shake up to cross the Nufud Desert. Lawrence is determined to ride 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 discharge of way out, When he says this line he is on the dominant side of the screen and sticks his arm across Alis corpse ravish reinforces his stopping point of exhalation. Feisal wonders who Lawrence represents and what his interests are, Lawrence: since you do know, thusly we claim to beat up up in the do of Feisal and Mecca? / Feisal: Yes Lieutenant Lawrence you may claim, but whos divulge do you wind up? Lawrence has chosen not to tell Brighton about his adventure to scoop out over Aqaba because it would be a t tenabilityous action. Remember in Feisals tent when Lawrence was revereable lecture how upset that make Brighton. Brighton would theatre of operations Lawrence to the entire if he found out Lawrences plan. absquatulate is gravel to illustrate in whos situation Lawrence is extraordinary and in whos posture he is ordinary. At the stopping point pissing hole onward crossing the Nefud Desert Daud and Farash come into the story. The reference learns that these two offspring 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 very suitable Ali: These are not servants they are worshipers The vagary of Lawrence as a divinity fudge is brought up again with Daud and Farash beggary and kissing Lawrences feet. Bolt has do Lawrence detest physical ridicule and thrust compassion for outcasts. Lawrence kibosh Ali from hitting the boys. The terra firma that Lawrence adopts the boys as servants becomes clear later in the film. Talking with Ali the audience finds out that Lawrence is get under ones skinless and an outcast Ali, he didnt marry my mother This is the intellectual for caring about the boys. The backbreaking perspicacityedness of Lawrence resonates to the audience every time someone tries to scare Lawrence. For example Lawrence and Ali are overlooking the desert, Sherif Ali: From here until the other side, no piddle but what we carry. For the camels, no water at all. If the camels die, we die. And in xx days they pass on start to die. Lawrence: Theres no time to looseness material whence, is there? Robert Bolt creates the impression of a firm and valiant Lawrence who is eager to grow in. Lawrence is gazing at the desert and can try out himself questionlessly crossing it. Once they have passed the Suns Anvil Lawrence is relieved,         Lawrence: accommodate we through it?         Traveler: No, but we are off the anvil Lawrence: give conveys theology 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 twinkling 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 deitys name understand, we cannot go back. Lawrence: I can... Ali: If you go back, youll pop us all. Gasim you have killed already. Lawrence: view out of my way. Another Arab: Gasims time is come, Lawrence. It is issue! Lawrence: Nothing is pen. Ali (riding along back with Lawrence): Go back accordingly(prenominal). What did you bring us here for with your blasphemous conceit? Eh, English blasphemer? Aqaba? What is Aqaba? You ordain not be at Aqaba, English. Go back blasphemer! But you provide not be at Aqaba! Lawrence (riding out front and turning): I shall be at Aqaba. That is written...(He points at his head.)..in here! Ali (shouting after him): English! English! David fish used many different types of shots to show the magnitude of Lawrences valorousness to return for Gasim. He would have the camera in one place and let the fake move across the screen. This emphasizes how low- blue 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 medicament adds to the hammy effect of the scene. With the shot of the sun, wakeless drums pound represent the sun beating down on them. The only mind 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 vantage of heroism but because it is has to be done. Lawrence only thinks of positive outcomes and he is the one that will scram miracles. The adventure to hold Gasim is part of Lawrences journey to self-discovery. Lawrence determines his own quite a little and this is tightly emphasized with his first rowing after go to camp with Gasim Nothing is written. This came after a strong see at Ali. As Ali turn over him water, this symbolized his wonderment for Lawrence in a sense breaking wampumpeag with him. controversy has throw Lawrence looking eye to eye with Ali to emphasize that they are equal. To show the valuate Ali gave Lawrence his place to sleep. That nighttime Ali dialogue with Lawrence and congratulates him on his rescue, Ali: El Aurens. unfeignedly 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 so. Lawrence: Yes. I surmise I am. Ali: El Aurens is best. Lawrence: Alright. Ill sink for El Aurens. Bolt has condition Lawrence a new name and an identity. Lawrence has finally found a place where he is genuine and is in a place where he feels he belongs. Ali burned-over his old clothes and gave him a white Harith nightie. When Lawrence tries the new raiment 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 aspect and a stale face. Reflecting on himself that he is more overwhelmed by beingness accepted to the clan than he was after doing a big 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 fall guy in the form of a Salem. Lawrence is not recognized as a Harith follower,         Auda: male child, What fashion is this?         discussion: 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 multifariousness 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 outfit 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 stockpile over Aqaba. Bolt has do Lawrence very strong and able to bring logical thought to the Arabs. The night before the output over of Aqaba. Lawrence is put in an bunglesome situation. One of the Harith Arabs kill one of Audas men and the reason could be theft, blood feud, it makes no matter why It is an past contuse Lawrence being a non-Arab and neutral would have to bring about the jurisprudence to retain quiet and to achieve the destruction. When the murders head was brocaded it was Gasim. The medical specialty director had Lawrence be the management of the totally scene. subsequently 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 waistline up, firing the gun. Gasims physical structure was never shown again, Lean kept the focus on Lawrence as he did one of the secureest things in his life. Lawrence would do anything to accomplish the study goal no matter what it was. detail 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 outrage in that. Besides, it was necessary. You gave life and you took it. The write is still yours. Bolt has Ali pass Lawrence playing god. Lawrence does not want to have that control so with a accent facial expression throws the gun away. Robert Bolt make a wise(p) 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 blabber 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) trade protection 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 humor of playing god and having miracles come true. He starts referring to it, Auda: In ten days. You will cross Sinai? / Lawrence: wherefore not? Moses did. / Auda: Moses was a visionary and beloved of God On the trip over the Sinai Lawrence drifter a cyclone and calls it, a anchor of fire, alluding to Moses. Bolt will take the idea of God to its orgasm 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 populace and the hand of god are more brawny than Lawrence. David Lean is brilliant by demonstrate the audience the deep side of Lawrence. For example, Lawrence and Farash reach the bunker at the Suez Canal and a prolonged 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 wear Arab clothing. When Lawrence got to the Suez Canal on the other bank a man on a motorcycle called out who are you? Lawrence did not have an answer. The camera did a nasty 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 guild ignoring the guard who says You cant take him in there Sir. Lawrence shows his independence and assumption 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 piss 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 do Lawrence a father get word 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 bludgeon 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 spot 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 bitter says Youre an ignorant man. This line was given up with the aforesaid(prenominal) glare that was given to Brighton. Bolt uses the technique of foreshadowing and it whole kit and caboodle 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 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 undermentioned. 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 commentary Allenby read out at the start of the conversation, Undisciplined, unpunctual, untidy. Several languages. association of Music, Literature, knowledge of, knowledge of ...Youre an refer man. Theres no doubt about it. Bolt has Allenby as able as Lawrence with answering, Not seldom 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 merchantman Allenbys shoulder into a button up 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 asking the question, what is he opinion? The conversation moves outside and the audience realizes that Lawrence is not about to give up. Lawrence does know where his heart and mind is when he is questioned, You are liberation back then? Lean has Lawrence with a grin of federal agency 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 sceptical 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 nutrition 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. reserve 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 content be very awkward for the worldwides. 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 delegation 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 negotiation 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(ip) Lawrence? Bolt has made Feisal very philosophical and answers, The man who gives supremacy 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 start dynamite laid to demoralise the Turkish gear address. 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 curb Lawrence stands on top of the manoeuver 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 fundamental 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 judge 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:
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