The Ottawa Citizen from Ottawa, Ontario, Canada • 27

The Ottawa Citizen May 10, 1963 Page 27 Gananoque safety record draws plaudits GANANOQUE (Special) one traffic fatility here dur- from Transport Minister A. This Seaway Valley town has ing 1962. C. Auld who said the Ontario been congratulated for its Mayor D. Carmichael government congratulated the Gordon Sloneham at the movies Lawrence of Arabia visually stunning safety record.

There was not Wednesday received a letter people of Gananoque. entitled Lawrence of Arabia, which commenced a special reserved-seat engagement at the Nelson Theatre Thursday evening. Seldom have the resources of the movie medium been used with more striking skill or to more dramatic effect. On the huge Panavision screen, the awesome expanse of the vast Arabian desert has been captured with a sets the senses reeling and sets the sense reeling and provides a background of scenic splendor of the most overpowering and atmospheric sort. F.

A. Young's superb color phot ography, considerably helped by Anne Coates' fluid Nelson LAWRENCE OF ARABIA A Columbia Pictures release. Produced by Sam Spiegel. Directed by David Lean. Screenplay by Robert Bolt.

Starring Peter O'Toole, Alec Guinness, Anthony Quinn, Jack Hawkins, Jose Ferrer and Omar Sharif. From the welter of fact and fiction that surrounds the legendary figure of T. E. Lawrence, the English adventurer who led the Arab revolt against the Turks during the First World War, a group of fine film craftsmen headed by David Lean have fashioned a visually stunning and stimulating motion picture desert warfare and heroic feats, but Mr. Lean has paced it with remarkable style and skill for its full running time.

And in Peter O'Toole, a handsome blonde Englishman, he has a superb hero. Although he bears little physical resemblance to the real Lawrence, O'Toole creates a real and commanding figure in a performance that brilliantly reflects the many moods and images of a man of valor and sensitivity finding his destiny in a far-flung corner of the world. He is surrounded by a number of first-rate performers who enact their roles for the most part, in vivid and vigorous fashion. Alec Guinness as the crafty Feisal, Omar Sharif as an Arab chief, Anthony Quayle as a bewildered British staff officer, and Arthur Kennedy as a brash newspaperman are particularly worthy of mention in a cast that also includes Anthony Quinn, Claude Rains, Jack Hawkins, Jose Ferrer and Donald Wolfit. Maurice Jarre has supplied an attractive musical score that effectively underlines the dramatic action, and Sam Spiegel, the producer, deserves credit for his obvious dedication and determination to tell a sensible story in a spectacular way.

He has every reason to be proud of his accomplishment. Lawrence of Arabia is a through the years. However, whether hero or fraud, mystic or charlatan, the story of Lawrence of Arabia is one cast in the mould of epic adventure. Of dramatic necessity, the screen version is frequently guilty of juggling facts, telescoping events, merging characters and fictionalizing incidents. But, on the whole, history seems to have been tampered with very little, and the basic facts of Lawrence's desert career have apparently been recorded with fidelity.

It picks Lawrence up in 1916 as he sets off on his first mission to contact the influential Bedouin leader, Prince Feisal, and follows him through an incredible series of actions that culminate in his final disillusionment in when he sees his vision of a united Arab empire crumble in the dust of political perfidy and tribal dissension. The assault on Aqaba, with Lawrence leading a band of guerilla warriors across a stretch of desert waste in order to attack from the rear, the reckless forays and destruction of enemy communications, a ferocious attack on a band of retreating Turks, his capture and torture when he brazenly enters Deraa on his own, are all staged with a stinging and gritty velocity. It takes some 3'2 hours to tell this fascinating story of iyi editing, brings out all the mystery, treachery and loneliness of the locale the intensity of the sun glaring down on sand and rock, camels loping through mirage-ringed vistas, sandspouts spinning fantastically into the sky, and the bleakness of the desert's winter snow. Indeed, there are times when the sheer physical mag-nificance of the production threatens to overwhelm the film's personal drama, but Mr. Lean's astute and resourceful direction manages to maintain the necessary balance between spectacle and story.

Let it be said at once that Robert Bolt's sharp and literate screenplay, apparently culled from a variety of sources, in no way attempts to be a definite biography of Lawrence. Covering only that period of his life between his first assignment in Cairo and his triumphant entry at the head of his forces into Damascus, it concentrates primarily on the heroic aspects of the desert campaigns, without avoiding the psychological complexities of its central character. At some point in his scenario, Mr. Bolt has managed to work in, by hint, suggestion or direct reference, almost every aspect of a man whose paradoxical nature has been perpetuated by any number of biographers and writers. He is presented at various times as sensitive, vain, sadistic, courageous, fanatic, perverted and idealistic and the result, as might be expected, is a rather enigmatic portrait which has no particular point of view of its own.

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