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 writing is still yours.
Bolt has Ali describe Lawrence playing god. Lawrence does not want to have that control so with a stressed 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 behind 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) Tribute for the prince. Flowers for the man.
Lawrence: I’m none of those things Ali.
Ali: What then?
Lawrence: Don’t know. Thanks. My God I love 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 prophet and beloved of God ” On the trip over the Sinai Lawrence spots 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 experience another tragedy of a newfound 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 earth and the hand of god are more powerful than Lawrence.
David Lean is brilliant by showing the audience the deep side of Lawrence. For example, Lawrence and Farash reach the bunker at the Suez Canal and a lengthy shot of Lawrence’s 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 motorcycle 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 club ignoring the guard who says “You can’t take him in there Sir.” Lawrence shows his independence and self-confidence by proceeding onward. Lawrence is shown as the outsider with comments like, “Now look here Lawrence just clear out of here will you” and “Get that wog out of here”.When the officer tries to touch 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 Farash’s 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 isn’t 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 “You’d better get into some trousers too.” David Lean has Lawrence glare up at Brighton. The reason Lawrence took offense 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 “You’re an ignorant man.” This line was given with the same glare that was given to Brighton. Bolt uses the technique of foreshadowing and it works because it brings the audience back to the origin and every event remains 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 doesn’t feel comfortable in this situation. He is dressed in the white Harith robe, has to explain his reasoning for taking over Aqaba without orders and explain what to do next. Robert Bolt gives Lawrence the prefect answer to the Allenby’s question, “You acted without orders?” with Lawrence’s response, “Shouldn’t 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 …You’re an interesting man. There’s no doubt about it.” Bolt has Allenby as clever as Lawrence with answering, “Not rarely it is awfully dangerous Lawrence”
The audience gets Lawrence’s 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 Allenby’s shoulder into a close up of Lawrence’s face for the lines, “No something else…I enjoyed it.” This was referring to Lawrence killing them. Bolt keeps the camera on Lawrence’s 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 mind is when he is questioned, “You are going back then?” Lean has Lawrence with a grin of confidence say “Of course I’m 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 skeptical, 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, “That’s what I’ve told them anyway. That’s what they think. That’s why they’re fighting.” Allenby says very casually “Oh surely.” While continuing with feeding the fish and the scene plays on:
Lawrence: They’ve only one suspicion. We let them drive the Turks out and
then move in ourselves. I’ve told them that that’s false, that we’ve no
ambitions in Arabia. Have we?
Allenby: I’m 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 we’ve no
ambitions in Arabia.
Allenby: Certainly.
With Bolt’s lines and Lean’s blocking, the scene portrays to the audience that Lawrence doesn’t know the British intentions. Lean has had this topic seem 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 Lawrence’s 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 Lawrence’s and Allenby’s 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 officer’s 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 loyalty 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 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 doesn’t have the control of Feisal’s 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 push a plunger that would detonate dynamite laid to derail the Turkish train. Lean has made this shot a close up of Lawrence’s 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 doesn’t 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 Lawrence’s view of himself, Brighton says, “They think he’s 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 Lawrence’s shadow is cast over the Arabs. He walks along the train and we see the Arabs looking up at Lawrence, following his shadow and chanting “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 Lawrence’s feet. He struts showing off his boots and his robe that blows in