Lawrence of Arabia

The Man and the Movie

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Contents
Articles
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T. E. Lawrence 1 1 18 Lawrence of Arabia (film) 18

References
Article Sources and Contributors Image Sources, Licenses and Contributors 34 35

Article Licenses
License 36

1
T. E. Lawrence
T. E. Lawrence

Lawrence in British Army uniform, 1918 Birth name Nickname Born Died Allegiance Service/branch Thomas Edward Lawrence Lawrence of Arabia, El Aurens 16 August 1888 Tremadog, Caernarfonshire, Wales, United Kingdom 19 May 1935 (aged46) Bovington Camp, Dorset, England, United Kingdom United Kingdom Kingdom of Hejaz British Army Royal Air Force

Yearsof service 1914--18 1923--35 Rank Battles/wars Colonel and Aircraftman First World War

Arab Revolt Siege of Medina Battle of Fwelia Battle of Aba el Lissan Battle of Aqaba Battle of Talifeh Battle of Deraa Capture of Damascus Battle of Megiddo

T. E. Lawrence

2
Awards
[1]

Companion of the Order of the Bath [2] Distinguished Service Order [3] Chevalier de la Lgion d'Honneur [4] Croix de guerre (France)

Thomas Edward Lawrence, CB, DSO (16 August 1888[5] 19 May 1935), known professionally as T. E. Lawrence, was a British Army officer renowned especially for his liaison role during the Sinai and Palestine Campaign and the Arab Revolt against Ottoman Turkish rule of 191618. The breadth and variety of his activities and associations, and his ability to describe them vividly in writing, earned him international fame as Lawrence of Arabia, a title which was used for the 1962 film based on his World War I activities. Lawrence was born illegitimate in Tremadog, Wales, in August 1888 to Sir Thomas Chapman and Sarah Junner, a governess who was herself illegitimate. Chapman had left his wife and first family in Ireland to live with Sarah Junner, and they called themselves Mr and Mrs Lawrence. In the summer of 1896 the Lawrences moved to Oxford, where in 190710 young Lawrence studied history at Jesus College, graduating with First Class Honours. He became a practising archaeologist in the Middle East, working at various excavations with David George Hogarth and Leonard Woolley. In 1908 he joined the OUOTC (Oxford University Officer Training Corps), undergoing a two-year training course.[6] In January 1914, before the outbreak of World War I, Lawrence was co-opted by the British Army to undertake a military survey of the Negev Desert while doing archaeological research. Lawrence's public image resulted in part from the sensationalised reportage of the revolt by an American journalist, Lowell Thomas, as well as from Lawrence's autobiographical account, Seven Pillars of Wisdom (1922).

Early life
Lawrence was born on 16 August 1888 in Tremadog, Caernarfonshire (now Gwynedd), Wales, in a house named Gorphwysfa, now known as Snowdon Lodge.[8] His Anglo-Irish father, Thomas Robert Tighe Chapman, who in 1914 inherited the title of Westmeath in Ireland as seventh Baronet, had left his wife Edith for his daughters' governess Sarah Junner. Junner's mother, Elizabeth Junner, had named as Sarah's father a "John Junner -shipwright journeyman", though she had been living as an unmarried servant in the household of a John Lawrence, ship's carpenter, just four months earlier.[9][10] The couple did not marry but were known as Mr and Mrs Lawrence.

T. E. Lawrence's birthplace, Gorphwysfa, now [7] known as Snowdon Lodge.

Thomas Chapman and Sarah Junner had five sons born out of wedlock, of whom Thomas Edward was the second eldest. From Wales the family moved to Kirkcudbright in Dumfries and Galloway, then Dinard in Brittany, then to Jersey. From 189496 the family lived at Langley Lodge (now demolished), set in private woods between the eastern borders of the New Forest and Southampton Water in Hampshire. Mr Lawrence sailed and took the boys to watch yacht racing in the Solent off Lepe beach. By the time they left, the eight-year-old Ned (as Lawrence became known) had developed a taste for the countryside and outdoor activities.

T. E. Lawrence

In the summer of 1896 the Lawrences moved to 2 Polstead Road in Oxford, where, until 1921, they lived under the names of Mr and Mrs Lawrence. Lawrence attended the City of Oxford High School for Boys, where one of the four houses was later named "Lawrence" in his honour; the school closed in 1966.[11] As a schoolboy, one of his favourite pastimes was to cycle to country churches and make brass rubbings. Lawrence and one of his brothers became commissioned officers in the Church Lads' Brigade at St Aldate's Church. Lawrence claimed that in about 1905, he ran away from home and served for a few weeks as a boy soldier with the Royal Garrison Artillery at St Mawes Castle in Cornwall, from which he was bought out. No evidence of this can be found in army records.[12]

Lawrence memorial plaque at Oxford Boys' High School

Middle East archaeology

At the age of 15 Lawrence and his schoolfriend Cyril Beeson bicycled around Berkshire, Buckinghamshire and Oxfordshire, visited almost every village's parish church, studied their monuments and antiquities and made rubbings of their monumental brasses.[] Lawrence and Beeson monitored building sites in Oxford and presented their finds to the Ashmolean Museum.[] The Ashmolean's Annual Report for 1906 said that the two teenage boys "by incessant watchfulness secured everything of antiquarian value which has been found".[] In the summers of 1906 and 1907 Lawrence and Beeson toured France by bicycle, collecting photographs, drawings and measurements of medieval castles.[] From 1907 to 1910 Lawrence studied history at Jesus College, Oxford.[] In the summer of 1909 Lawrence set out alone on a three-month walking tour of crusader castles in Ottoman Syria, in which he travelled 1,000mi (1,600km) on foot. Lawrence graduated with First Class Honours after submitting a thesis entitled The influence of the Crusades on European Military Architectureto the end of the 12th century based on his field research with Beeson in France,[] notably in Chlus, and his solo research in the Middle East.[13]

T. E. Lawrence

On completing his degree in 1910, Lawrence commenced postgraduate research in mediaeval pottery with a Senior Demy, a form of scholarship, at Magdalen College, Oxford, which he abandoned after he was offered the opportunity to become a practising archaeologist in the Middle East. Lawrence was a polyglot whose published work demonstrates competence in French, Ancient Greek, and Arabic.

Leonard Woolley (left) and T. E. Lawrence at Carchemish, ca. 1912

In December 1910 he sailed for Beirut, and on arrival went to Jbail (Byblos), where he studied Arabic. He then went to work on the excavations at Carchemish, near Jerablus in northern Syria, where he worked under D. G. Hogarth and R. Campbell Thompson of the British Museum. He would later state that everything that he had accomplished, he owed to Hogarth.[14] As the site lay near an important crossing on the Baghdad Railway, knowledge gathered there was of considerable importance to the military. While excavating ancient Mesopotamian sites, Lawrence met Gertrude Bell, who was to influence him during his time in the Middle East. In late 1911, Lawrence returned to England for a brief sojourn. By November he was en route to Beirut for a second season at Carchemish, where he was to work with Leonard Woolley. Prior to resuming work there, however, he briefly worked with Flinders Petrie at Kafr Ammar in Egypt. Lawrence continued making trips to the Middle East as a field archaeologist until the outbreak of the First World War. In January 1914, Woolley and Lawrence were co-opted by the British military as an archaeological smokescreen for a British military survey of the Negev Desert. They were funded by the Palestine Exploration Fund to search for an area referred to in the Bible as the "Wilderness of Zin"; along the way, they undertook an archaeological survey of the Negev Desert. The Negev was of strategic importance, as it would have to be crossed by any Ottoman army attacking Egypt in the event of war. Woolley and Lawrence subsequently published a report of the expedition's archaeological findings,[15] but a more important result was an updated mapping of the area, with special attention to features of military relevance such as water sources. Lawrence also visited Aqaba and Petra. From March to May 1914, Lawrence worked again at Carchemish. Following the outbreak of hostilities in August 1914, Lawrence did not immediately enlist in the British Army; on the advice of S.F. Newcombe he held back until October, when he was commissioned on the General List; and immediately posted to the intelligence staff in Cairo.
T. E. Lawrence and Leonard Woolley (right) at Carchemish, spring 1913

T. E. Lawrence

Arab revolt
At the outbreak of the First World War Lawrence was a university post-graduate researcher who had for years travelled extensively within the Ottoman Empire provinces of the Levant (Transjordan and Palestine) and Mesopotamia (Syria and Iraq) under his own name. As such he had become known to the Ottoman Interior Ministry authorities and their German technical advisors, travelling over the German-designed, built, and financed railways during the course of his research.[16] The Arab Bureau of Britain's Foreign Office conceived a campaign of internal insurgency against the Ottoman Empire in the Middle East. The Arab Bureau had long felt it likely that a campaign instigated and financed by outside powers, supporting the breakaway-minded tribes and regional challengers to the Turkish government's centralised rule of their empire, would pay great dividends in the diversion of effort that would be needed to meet such a challenge. The Arab Bureau had Lawrence at Rabigh, north of Jeddah, 1917 recognised the strategic value of what is today called the "asymmetry" of such conflict. The Ottoman authorities would have to devote from a hundred to a thousand times the resources to contain the threat of such an internal rebellion compared to the Allies' cost of sponsoring it. With his first-hand knowledge of Syria, the Levant, and Mesopotamia (not to mention having already worked as a part-time civilian army intelligence officer), on his formal enlistment in 1914 Lawrence was posted to Cairo on the Intelligence Staff of the GOC Middle East.[17] The British government in Egypt sent Lawrence to work with the Hashemite forces in the Arabian Hejaz in October 1916.[18] During the war, Lawrence fought with Arab irregular troops under the command of Emir Faisal, a son of Sherif Hussein of Mecca, in extended guerrilla operations against the armed forces of the Ottoman Empire. Lawrence obtained assistance from the Royal Navy to turn back an Ottoman attack on Yenbu in December 1916.[18] Lawrence's major contribution to the revolt was convincing the Arab leaders (Faisal and Abdullah) to co-ordinate their actions in support of British strategy. He persuaded the Arabs not to make a frontal assault on the Ottoman stronghold in Medina but allowed the Turkish army to tie up troops in the city garrison. The Arabs were then free to direct most of their attention to the Turks' weak point, the Hejaz railway that supplied the garrison. This vastly expanded the battlefield and tied up even more Ottoman troops, who were then forced to protect the railway and repair the constant damage. Lawrence developed a close relationship with Faisal, whose Arab Northern Army was to become the main beneficiary of British aid.[19]

T. E. Lawrence

Capture of Aqaba
In 1917, Lawrence arranged a joint action with the Arab irregulars and forces including Auda Abu Tayi (until then in the employ of the Ottomans) against the strategically located but lightly defended[20][21][22] town of Aqaba. On 6 July, after a surprise overland attack, Aqaba fell to Lawrence and the Arab forces. After Aqaba, Lawrence was promoted to major, and the new commander-in-chief of the Egyptian Expeditionary Force, General Sir Edmund Allenby, agreed to his strategy for the revolt, stating after the war: "I gave him a free hand. His cooperation was marked by the utmost loyalty, and I never had anything but praise for his work, which, indeed, was invaluable throughout the campaign. He was the mainspring of the Arab movement and knew their language, their manners and their mentality."[23] Lawrence now held a powerful position, as an adviser to Faisal and a person who had Allenby's confidence.
Lawrence at Aqaba, 1917

Battle of Tafileh
In January 1918, the battle of Tafileh, an important region southeast of the Dead Sea, was fought using Arab regulars under the command of Jafar Pasha al-Askari.[24] The battle was a defensive engagement that turned into an offensive rout, and was described in the official history of the war as a "brilliant feat of arms".[24] Lawrence was awarded the Distinguished Service Order for his leadership at Tafileh, and was also promoted to Lieutenant Colonel.[24] By the summer of 1918, the Turks were offering a substantial reward for Lawrence's capture, with one officer writing in his notes; "Though a price of 15,000 has been put on his head by the Turks, no Arab has, as yet, attempted to betray him. The Sharif of Mecca [King of the Hedjaz] has given him the status of one of his sons, and he is just the finely tempered steel that supports the whole structure of our influence in Arabia. He is a very inspiring gentleman adventurer."[24]

Fall of Damascus
Lawrence was involved in the build up to the capture of Damascus in the final weeks of the war. Much to his disappointment, and contrary to instructions he had issued, he was not present at the city's formal surrender, arriving several hours after the city had fallen. Lawrence entered Damascus around 9am on 1 October 1918, but was only the third arrival of the day, the first being the 10th Australian Light Horse Brigade, led by Major A.C.N. 'Harry' Olden who formally accepted the surrender of the city from acting Governor Emir Said.[25] In newly liberated Damascuswhich he had envisaged as the capital of an Arab stateLawrence was instrumental in establishing a provisional Arab government under Faisal. Faisal's rule as king, however, came to an abrupt end in 1920, after the battle of Maysaloun, when the French Forces of General Gouraud, under the command of General Mariano Goybet, entered Damascus, destroying Lawrence's dream of an independent Arabia.

T. E. Lawrence

During the closing years of the war he sought, with mixed success, to convince his superiors in the British government that Arab independence was in their interests. The secret Sykes-Picot Agreement between France and Britain contradicted the promises of independence he had made to the Arabs and frustrated his work.[26] In 1918 he co-operated with war correspondent Lowell Thomas for a short period. During this time Thomas and his cameraman Harry Chase shot a great deal of film and many photographs, which Thomas used in a highly lucrative film that toured the world after the war. [Lowell Thomas] went to Jerusalem where he met Lawrence, whose enigmatic figure in Arab uniform fired his imagination. With Allenby's permission he linked up with Lawrence for a brief couple of weeks ... Returning to America, Thomas, early in 1919, started his Portrait of T. E. Lawrence by Lowell lectures, supported by moving pictures of veiled women, Arabs in Thomas their picturesque robes, camels and dashing Bedouin cavalry, which took the nation by storm, after running at Madison Square Gardens in New York. On being asked to come to England, he made the condition he would do so if asked by the King and given Drury Lane or Covent Garden ... He opened at Covent Garden on 14 August 1919 ... And so followed a series of some hundreds of lecture--film shows, attended by the highest in the land ..."[27]

Postwar years
Lawrence returned to the UK a full Colonel.[28] Immediately after the war, Lawrence worked for the Foreign Office, attending the Paris Peace Conference between January and May as a member of Faisal's delegation. He served for much of 1921 as an advisor to Winston Churchill at the Colonial Office. On 17 May 1919, the Handley Page Type O carrying Lawrence on a flight to Egypt crashed at the airport of Roma-Centocelle. The pilot and co-pilot were killed; Lawrence came off with a broken shoulder blade and two broken ribs.[29] During his brief hospitalisation, he was visited by King Victor Emanuel III.[30] In August 1919, the American journalist Lowell Thomas launched a colourful photo show in London entitled With Allenby in Palestine which included a lecture, dancing, and music.[31] Initially, Lawrence played only a supporting role in the show, but when Thomas realized that it was the photos of Lawrence dressed as a Bedouin that had captured the public's imagination, he shot some more photos in London of him in Arab dress.[31] With the new photos, Thomas re-launched his show as With Allenby in Palestine and Lawrence in Arabia in early 1920; it was extremely popular.[31] Thomas' shows made Lawrence, who until then had been rather obscure, into a household name.[31]
Emir Faisal's party at Versailles, during the Paris Peace Conference of 1919. Left to right: Rustum Haidar, Nuri as-Said, Prince Faisal (front), Captain Pisani (rear), T. E. Lawrence, Faisal's slave (name unknown), Captain Hassan Khadri.

T. E. Lawrence

In August 1922, Lawrence enlisted in the Royal Air Force as an aircraftman under the name John Hume Ross. The RAF recruiting officer who interviewed him was Flying Officer W. E. Johns, later to be wellknown as the author of the Biggles series of novels. Johns rejected Lawrence's application, as he correctly believed it was under a false name, but was then ordered Wikipedia:Vagueness to accept Lawrence.[32][33] However, Lawrence was forced out of the RAF in February 1923 after being exposed. He changed his name to T. E. Shaw and joined the Royal Tank Corps in 1923. He was unhappy there and repeatedly petitioned to rejoin the RAF, which finally readmitted him in August 1925.[34] A fresh burst of publicity after the publication of Revolt in the Desert (see below) resulted in his assignment to a remote base in British India in late 1926, where he remained until the end of 1928. At that time he was forced to return to Britain after rumours began to circulate that he was involved in espionage activities. He purchased several small plots of land in Chingford, built a hut and T. E. Lawrence, Emir Abdullah, Air Marshal Sir swimming pool there, and visited frequently. This was removed in Geoffrey Salmond, Sir Herbert Samuel H.B.M. 1930 when the Chingford Urban District Council acquired the land and high commissioner and Sir Wyndham Deedes and others in Jerusalem. passed it to the City of London Corporation, but re-erected the hut in the grounds of The Warren, Loughton, where it remains, neglected, today. Lawrence's tenure of the Chingford land has now been commemorated by a plaque fixed on the sighting obelisk on Pole Hill. He continued serving in the RAF based at Bridlington, East Riding of Yorkshire, specialising in high-speed boats and professing happiness, and it was with considerable regret that he left the service at the end of his enlistment in March 1935. Lawrence was a keen motorcyclist, and, at different times, had owned seven Brough Superior motorcycles.[35] His seventh motorcycle is on display at the Imperial War Museum. Among the books Lawrence is known to have carried with him on his military campaigns is Thomas Malory's Morte D'Arthur. Accounts of the 1934 discovery of the Winchester Manuscript of the Morte include a report that Lawrence followed Eugene Vinavera Malory scholarby motorcycle from Manchester to Winchester upon reading of the discovery in The Times.[36]

Death
At the age of 46, two months after leaving the service, Lawrence was fatally injured in an accident on his Brough Superior SS100 motorcycle in Dorset, close to his cottage, Clouds Hill, near Wareham. A dip in the road obstructed his view of two boys on their bicycles; he swerved to avoid them, lost control and was thrown over the handlebars.[37] He died six days later on 19 May 1935.[37] The spot is marked by a small memorial at the side of the road.
Lawrence's last Brough Superior, Imperial War Museum, London

T. E. Lawrence

One of the doctors attending him was the neurosurgeon Hugh Cairns who consequently began a long study of what he saw as the unnecessary loss of life by motorcycle dispatch riders through head injuries. His research led to the use of crash helmets by both military and civilian motorcyclists.[38] Moreton Estate, which borders Bovington Camp, was owned by family cousins, the Frampton family. Lawrence had rented and later bought Clouds Hill from the Framptons. He had been a frequent visitor to their home, Okers Wood House, and had for years corresponded with Louisa Frampton. With his body wrapped in the Union Flag, Lawrence's mother arranged with the Framptons for him to be buried in their family plot at Moreton.[39] His coffin was transported on the Frampton estate's bier. Mourners included Winston and Clementine Churchill, E. M. Forster and Lawrence's youngest brother, Arnold.[40] A bust of Lawrence was placed in the crypt at St Paul's Cathedral, London and a stone effigy by Eric Kennington remains in the Anglo-Saxon church of St Martin, Wareham in Dorset.[41]

Roadside Memorial tree and stone with engraving at Clouds Hill, Wareham, Dorset

Writings
Throughout his life, Lawrence was a prolific writer. A large portion of Lawrence on a Brough Superior SS100 his output was epistolary; he often sent several letters a day. Several collections of his letters have been published. He corresponded with many notable figures, including George Bernard Shaw, Edward Elgar, Winston Churchill, Robert Graves, Nol Coward, E. M. Forster, Siegfried Sassoon, John Buchan, Augustus John and Henry Williamson. He met Joseph Conrad and commented perceptively on his works. The many letters that he sent to Shaw's wife, Charlotte, offer a revealing side of his character.[42] In his lifetime, Lawrence published four major texts. Two were translations: Homer's Odyssey, and The Forest Giant the latter an otherwise forgotten work of French fiction. He received a flat fee for the second translation, and negotiated a generous fee plus royalties for the first.

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10

Seven Pillars of Wisdom

Lawrence's major work is Seven Pillars of Wisdom, an account of his war experiences. In 1919 he had been elected to a seven-year research fellowship at All Souls College, Oxford, providing him with support while he worked on the book. In addition to being a memoir of his experiences during the war, certain parts also serve as essays on military strategy, Arabian culture and geography, and other topics. Lawrence re-wrote Seven Pillars of Wisdom three times; once "blind" after he lost the manuscript while changing trains at Reading railway station. The list of his alleged "embellishments" in Seven Pillars is long, though many such allegations have been disproved with time, most definitively in Jeremy Wilson's authorised biography. However Lawrence's own notebooks refute his claim to have crossed the Sinai Peninsula from Aqaba to the Suez Canal in just 49 hours without any sleep. In reality this famous camel ride lasted for more than 70 hours and was interrupted by two long breaks for sleeping which Lawrence omitted when he wrote his book.[43]

14 Barton Street, London S.W.1, where Lawrence lived while writing Seven Pillars.

Lawrence acknowledged having been helped in the editing of the book by George Bernard Shaw. In the preface to Seven Pillars, Lawrence offered his "thanks to Mr. and Mrs. Bernard Shaw for countless suggestions of great value and diversity: and for all the present semicolons." The first public edition was published in 1926 as a high-priced private subscription edition, printed in London by Herbert John Hodgson and Roy Manning Pike, with illustrations by Eric Kennington, Augustus John, Paul Nash, Blair Hughes-Stanton and his wife Gertrude Hermes. Lawrence was afraid that the public would think that he would make a substantial income from the book, and he stated that it was written as a result of his war service. He vowed not to take any money from it, and indeed he did not, as the sale price was one third of the production costs.[44] This, along with his "saintlike" generosity, left Lawrence in substantial debt.[45]

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Revolt in the Desert

Revolt in the Desert was an abridged version of Seven Pillars, which he began in 1926 and was published in March 1927 in both limited and trade editions. He undertook a needed but reluctant publicity exercise, which resulted in a best-seller. Again he vowed not to take any fees from the publication, partly to appease the subscribers to Seven Pillars who had paid dearly for their editions. By the fourth reprint in 1927, the debt from Seven Pillars was paid off. As Lawrence left for military service in India at the end of 1926, he set up the "Seven Pillars Trust" with his friend D. G. Hogarth as a trustee, in which he made over the copyright and any surplus income of Revolt in the Desert. He later told Hogarth that he had "made the Trust final, to save myself the temptation of reviewing it, if Revolt turned out a best seller." The resultant trust paid off the debt, and Lawrence then invoked a clause in his publishing contract to halt publication of the abridgment in the UK. However, he allowed both American editions and translations, which resulted in a substantial flow of income. The trust paid income either into an educational fund for children of RAF officers who lost their lives or were invalided as a result of service, or more substantially into the RAF Benevolent Fund.

Portrait of T. E. Lawrence by Augustus John, 1919

Posthumous
Lawrence left unpublished The Mint,[46] a memoir of his experiences as an enlisted man in the Royal Air Force (RAF). For this, he worked from a notebook that he kept while enlisted, writing of the daily lives of enlisted men and his desire to be a part of something larger than himself: the Royal Air Force. The book is stylistically very different from Seven Pillars of Wisdom, using sparse prose as opposed to the complicated syntax found in Seven Pillars. It was published posthumously, edited by his brother, Professor A. W. Lawrence. After Lawrence's death, A. W. Lawrence inherited Lawrence's estate and his copyrights as the sole beneficiary. To pay the inheritance tax, he sold the U.S. copyright of Seven Pillars of Wisdom (subscribers' text) outright to Doubleday Doran in 1935. Doubleday still controls publication rights of this version of the text of Seven Pillars of Wisdom in the USA. In 1936 Prof. Lawrence split the remaining assets of the estate, giving Clouds Hill and many copies of less substantial or historical letters to the nation via the National Trust, and then set up two trusts to control interests in T. E. Lawrence's residual copyrights. To the original Seven Pillars Trust, Prof. Lawrence assigned the copyright in Seven Pillars of Wisdom, as a result of which it was given its first general publication. To the Letters and Symposium Trust, he assigned the copyright in The Mint and all Lawrence's letters, which were subsequently edited and published in the book T. E. Lawrence by his Friends (edited by A. W. Lawrence, London, Jonathan Cape, 1937). A substantial amount of income went directly to the RAF Benevolent Fund or for archaeological, environmental, or academic projects. The two trusts were amalgamated in 1986 and, on the death of Prof. A. W. Lawrence in 1991, the unified trust also acquired all the remaining rights to Lawrence's works that it had not owned, plus rights to all of Prof. Lawrence's works.

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Bibliography
Seven Pillars of Wisdom, an account of Lawrence's part in the Arab Revolt. (ISBN 0-8488-0562-3) Revolt in the Desert, an abridged version of Seven Pillars of Wisdom. (ISBN 1-56619-275-7) The Mint, an account of Lawrence's service in the Royal Air Force. (ISBN 0-393-00196-2) Crusader Castles, Lawrence's Oxford thesis. London: Michael Haag 1986 (ISBN 0-902743-53-8). The first edition was published in London in 1936 by the Golden Cockerel Press, in 2 volumes, limited to 1000 editions. The Odyssey of Homer, Lawrence's translation from the Greek. (ISBN 0-19-506818-1) The Forest Giant, by Adrien Le Corbeau, novel, Lawrence's translation from the French, 1924. The Letters of T. E. Lawrence, selected and edited by Malcolm Brown. London, J. M Dent. 1988 (ISBN 0-460-04733-7) The Letters of T. E. Lawrence, edited by David Garnett. (ISBN 0-88355-856-4) Jeremy Wilson, T. E. Lawrence. Letters. (See Prospectus [47]) Minorities: Good Poems by Small Poets and Small Poems by Good Poets, edited by Jeremy Wilson, 1971. Lawrence's commonplace book includes an introduction by Jeremy Wilson that explains how the poems comprising the book reflected Lawrence's life and thoughts.

Sexuality
Lawrence's biographers have discussed his sexuality at considerable length, and this discussion has spilled into the popular press.[48] There is no reliable evidence for consensual sexual intimacy between Lawrence and any person. His friends have expressed the opinion that he was asexual,[49][50] and Lawrence himself specifically denied, in multiple private letters, any personal experience of sex.[51] While there were suggestions that Lawrence had been intimate with Dahoum, who worked with Lawrence at a pre-war archaeological dig in Carchemish,[52] and fellow-serviceman R.A.M. Guy,[53] his biographers and contemporaries have found them unconvincing.[52][53][54] The dedication to his book Seven Pillars is a poem entitled "To S.A." which opens: I loved you, so I drew these tides of men into my hands and wrote my will across the sky in stars To earn you Freedom, the seven-pillared worthy house, that your eyes might be shining for me When we came. Lawrence was never specific about the identity of "S.A." There are many theories which argue in favour of individual men, women, and the Arab nation.[55] The most popular is that S.A. represents (at least in part) his companion Selim Ahmed, "Dahoum", who apparently died of typhus prior to 1918. Although Lawrence lived in a period during which official opposition to homosexuality was strong, his writing on the subject was tolerant. In Seven Pillars, when discussing relationships between young male fighters in the war, he refers on one occasion to "the openness and honesty of perfect love"[56] and on another to "friends quivering together in the yielding sand with intimate hot limbs in supreme embrace".[57] In a letter to Charlotte Shaw he wrote "I've seen lots of man-and-man loves: very lovely and fortunate some of them were."[58] In both Seven Pillars and a 1919 letter to a military colleague,[59] Lawrence describes an episode in November 1917 in which, while reconnoitring Dera'a in disguise, he was captured by the Ottoman military, heavily beaten, and sexually abused by the local Bey and his guardsmen. The precise nature of the sexual contact is not specified. There have been allegations that the episode was an invention of Lawrences and (with some evidence) that the injuries Lawrence claims to have suffered were exaggerated.[60] Although there is no independent testimony, the multiple consistent reports, and the absence of evidence for outright invention in Lawrence's works, make the account believable to his biographers.[61] At least three of Lawrence's biographers (Malcolm Brown, John Mack, and Jeremy

T. E. Lawrence Wilson) have argued this episode had strong psychological effects on Lawrence which may explain some of his unconventional behaviour in later life. There is considerable evidence that Lawrence was a masochist. In his description of the Dera'a beating, Lawrence wrote "a delicious warmth, probably sexual, was swelling through me", and also included a detailed description of the guards' whip in a style typical of masochists' writing.[62] In later life, Lawrence arranged to pay a military colleague to administer beatings to him,[48] and to be subjected to severe formal tests of fitness and stamina.[63] While John Bruce, who first wrote on this topic, included some other claims which were not credible, Lawrence's biographers regard the beatings as established fact.[64] John E. Mack sees a possible connection between T.E.'s masochism and the childhood beatings he had received from his mother[65] for routine misbehaviours.[66] His brother Arnold thought the beatings had been given for the purpose of breaking T.E.'s will.[66] Writing in 1997, Angus Calder noted that it is "astonishing" that earlier commentators discussing Lawrence's apparent masochism and self-loathing failed to consider the impact on Lawrence of having lost his brothers Frank and Will on the Western front, along with many other school friends.[67]

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Awards and commemorations

Lawrence was made a Companion of the Order of the Bath and awarded the Distinguished Service Order and the French Lgion d'Honneur, though in October 1918 he refused to be made a Knight Commander of the Most Excellent Order of the British Empire. A bronze bust of Lawrence was placed in the crypt of St Paul's Cathedral alongside the tombs of Britain's greatest military leaders.[68] An English heritage blue plaque marks Lawrence's childhood home at 2 Polstead Road, Oxford, OX2, and another appears on his London home at 14 Barton Street Westminster, SW1.[69][70] In 2002, Lawrence was named in the BBC's list of the 100 Greatest Britons following a UK-wide vote.[71]

In popular culture
Film Lawrence was portrayed by Peter O'Toole in the 1962 film Lawrence of Arabia.
Bust of T. E. Lawrence at St Paul's Cathedral

Peter O'Toole's portrayal of Lawrence was the inspiration for the android David character in Ridley Scott's 2012 science fiction film, Prometheus.[][] In the 1980 comedy, The Hollywood Knights, the character of Newbomb Turk, played by Robert Wuhl, is repeatedly heard singing made-up lyrics ("Lawrence, Lawrence of Arabiaaaaa, he was an English guy, he came to fight the Tuuurkish,") that correspond roughly with the main musical thrust from the 1962 film starring Peter O'Toole.[72] Television He was portrayed by Judson Scott in the 1982 TV series Voyagers! Ralph Fiennes portrayed Lawrence in the 1990 made-for-TV movie A Dangerous Man: Lawrence after Arabia. Joseph A. Bennett and Douglas Henshall portrayed him in the 1992 TV series The Young Indiana Jones Chronicles. In Young Indiana Jones, Lawrence is portrayed as being a lifelong friend of the title character. He was also portrayed in an Arabic series, directed by Thayer Musa, called "Lawrence Al Arab". The series consisted of 37 episodes, each between 45 minutes and one hour in length.[73] Theatre

T. E. Lawrence Lawrence was the subject of Terence Rattigan's controversial play Ross, which explored Lawrence's alleged homosexuality. Ross ran in London in 196061, starring Alec Guinness, who was an admirer of Lawrence, and Gerald Harper as his blackmailer, Dickinson. The play had originally been written as a screenplay, but the planned film was never made. In January 1986 at the Theatre Royal, Plymouth on the opening night of the revival of Ross, Marc Sinden, who was playing Dickinson (the man who recognised and blackmailed Lawrence, played by Simon Ward), was introduced to the man that the character of 'Dickinson' was based on. Sinden asked him why he had blackmailed Ross, and he replied, "Oh, for the money. I was financially embarrassed at the time and needed to get up to London to see a girlfriend. It was never meant to be a big thing, but a good friend of mine was very close to Terence Rattigan and years later, the silly devil told him the story".[74] Alan Bennett's Forty Years On (1968) includes a satire on Lawrence; known as "Tee Hee Lawrence" because of his high-pitched, girlish giggle. "Clad in the magnificent white silk robes of an Arab prince... he hoped to pass unnoticed through London. Alas he was mistaken." The section concludes with the headmaster confusing him with D. H. Lawrence. The character of Private Napoleon Meek in George Bernard Shaw's 1931 play Too True to Be Good was inspired by Lawrence. Meek is depicted as thoroughly conversant with the language and lifestyle of tribals. He repeatedly enlists with the army, quitting whenever offered a promotion. Lawrence attended a performance of the play's original Worcestershire run, and reportedly signed autographs for patrons attending the show.[75] T. E. Lawrence's first year back at Oxford after the Great War to write his Seven Pillars of Wisdom was portrayed by Tom Rooney in a play, The Oxford Roof Climbers Rebellion, written by Canadian playwright Stephen Massicotte (premiered Toronto 2006). The play explores Lawrence's political, physical and psychological reactions to war, and his friendship with poet Robert Graves. Urban Stages presented the American premiere in New York City in October 2007; Lawrence was portrayed by actor Dylan Chalfy. Lawrence's final years are portrayed in a one-man show by Raymond Sargent, The Warrior and the Poet.

14

Notes
[4] - p4715 has "Decorations and Medals presented by THE PRESIDENT OF THE FRENCH REPUBLIC." [5] His official birth record, according to his father's statement, lists 15 August 1888, as birth date (no time of birth). However, his mother stated he was born in the early hours of 16 August, and according to extant documents it was on this date his birthday was celebrated. [11] "Brief history of the City of Oxford High School for Boys, George Street", 'University of Oxford Faculty of History website (http:/ / www. history. ox. ac. uk/ resources/ obs/ boys_school_history. htm) [14] T. E. Lawrence letters, 1927 (http:/ / telawrence. net/ telawrencenet/ letters/ 1927/ 271207_d_knowles. htm) [16] Stephen E. Tabachnick (2012). "The T. E. Lawrence Puzzle". p. 207. University of Georgia Press, 2012 [17] Outline Chronology: 1914 (http:/ / telawrence. info/ telawrenceinfo/ life/ chron_1914. shtml) [18] Parnell, Charles L., CDR USN "Lawrence of Arabia's Debt to Seapower" US Naval Institute Proceedings (August 1979) p.76, 78 [19] Murphy, David (2008). "The Arab Revolt 1916-1918", London: Osprey, 2008 page 36. [20] 'The bombardment of Akaba.' The Naval Review. Volume IV. 1916. p.101-103 [21] 'Egyptian Expeditionary Force. HMS Raven II Operations in the Gulf of Akaba. Red Sea. July--August 1916. National Archives, Kew London. File: AIR 1 /2284/ 209/75/8. [22] 'Naval Operation in the Red Sea 1916--1917'. The Naval Review Volume XIII no.4 1925. p.648-666. [23] "Strategist of the Desert Dies in Military Hospital". (http:/ / www. guardian. co. uk/ theguardian/ 1935/ may/ 19/ fromthearchive) The Guardian. Retrieved 16 August 2012 [24] John E. MacK "A Prince of Our Disorder: The Life of T. E. Lawrence". p. 158, 161. Harvard University Press, 1998 [25] Barker, A. (1998)"The Allies Enter Damascus", History Today, Volume 48 [27] Hall, Rex (1975) The Desert Hath Pearls, (Melbourne: Hawthorn Press) pp. 120--1 [28] Asher, M (1998)' Lawrence :The Uncrowned King of Arabia.' Page 343. [29] Friends of the Protestant Cemetery (Rome) newsletter, 2008 (http:/ / www. protestantcemetery. it/ press/ webnewsletter-eng/ no5-2008. pdf) [30] RID Marzo 2012, Storia dell'Handley Page type 0 [31] Murphy, David The Arab Revolt 1916-18, London: Osprey, 2008, page 86 [33] Biography of Johns, Oxford Dictionary of National Biography [35] Title: The Illustrated Encyclopedia of Motorcycles, Editor: Erwin Tragatsch, Publisher: New Burlington Books, Copyright: 1979 Quarto Publishing, Edition: 1988 Revised, Page 95, ISBN 0-906286-07-7 [36] Walter F. Oakeshott, "The Finding of the Manuscript," Essays on Malory, J. A. W. Bennett, ed. (Oxford: Clarendon, 1963]: 1--6)

T. E. Lawrence
[37] "T.E. Lawrence, To Arabia and back". (http:/ / news. bbc. co. uk/ local/ oxford/ hi/ people_and_places/ history/ newsid_8130000/ 8130638. stm) BBC. Retrieved 16 August 2012 [38] Lawrence of Arabia, Sir Hugh Cairns, and the Origin of Motorcycle Helmets (accessed 2008-05-09) (http:/ / www. neurosurgery-online. com/ pt/ re/ neurosurg/ abstract. 00006123-200201000-00026. htm;jsessionid=LjXXhLWV91Gj2H4GlTrvw2pbgDqDFHTmB0h0WsgfvpzLQpXr3QxY!-341159882!181195629!8091!-1) [40] Moffat,W. "A Great Unrecorded History: A New Life of E. M. Forster", p.240 [42] Foreword by Jeremy Wilson. [43] Asher, M (1998)' Lawrence :The Uncrowned King of Arabia.' Page 259. [44] Graves, Robert, Lawrence and the Arabs, ch. 30. Jonathan Cape: London, 1927 [45] John E. Mack, A Prince of Our Disorder: The Life of T.E. Lawrence, 1976, p. 323. [46] Doubleday,Doran &Co, New York,1936; rprnt Penguin,Harmondsworth,1984 ISBN 0-14-004505-8 [47] (http:/ / www. castlehillpress. com/ publications/ letters_1. shtml) [48] The pieces appeared on the 9th, 16th, 23rd, and 30th of June, and were based mostly on the narrative of John Bruce. [49] essay by E.H.R. Altounyan [51] Letters to E.M. Forster, 21 Dec. 1927; to Robert Graves, 6 Nov. 1928; to F.L. Lucas, 26 March 1929. [52] Section by C. Leonard Woolley. [53] Chapter 32. [54] Chapter 27. [56] Book VIII, Chapter XCII. The passage, in the front-matter, is referred to with the single-word tag "Sex". [57] Seven Pillars (1935), featured prominently on Page 2 of Chapter I. [58] Letter to Charlotte Shaw [59] Letter to W.F. Stirling, Deputy Chief Political Officer, Cairo, June 28, 1919 [61] In Note 49 to Chapter 21. [63] Knightley and Simpson, p. 29 [64] Chapter 34. [65] John E. Mack, A Prince of Our Disorder: The Life of T.E. Lawrence, 1976, p. 420. [66] John E. Mack, A Prince of Our Disorder: The Life of T.E. Lawrence, 1976, p. 33. [67] Introduction by Angus Calder - who says that after losing close friends and familly, returning soldiers often feel intense guilt at having survived, even to the point of self-harm. [68] David Murphy (2008). "The Arab Revolt 1916-18: Lawrence sets Arabia ablaze". p. 86. Osprey Publishing, 2008 [69] "This house was the home of T. E. Lawrence (Lawrence of Arabia) from 1896-1921" (http:/ / openplaques. org/ plaques/ 2869). Open Plaques. Retrieved 5 August 2012 [70] "T. E. Lawrence "Lawrence of Arabia" 1888-1935 lived here (http:/ / openplaques. org/ plaques/ 1324). Open Plaques. Retrieved 5 August 2012 [72] "Movie Quotes From Hollywood Knights" (http:/ / www. moviequotes. com/ repository. cgi?pg=3& tt=69381). Movie Quotes.com. Retrieved 28 November 2012 [73] (http:/ / www. istikana. com/ en/ tv_shows/ lawrence-alarab) Online at Istikana.com] [74] Western Morning News 1986 [75] Korda, p. 670-671

15

References
Richard Aldington, Lawrence of Arabia. A Biographical Enquiry, London, Collins, 1955. Flora Armitage, The Desert and the Stars: a Biography of Lawrence of Arabia, illustrated with photographs, New York, Henry Holt and Company, 1955. Malcolm Brown and Julia Cave, A Touch of Genius. The Life of T. E. Lawrence, London, J. M. Brent, 1988. Malcolm Brown, Lawrence of Arabia: the Life, the Legend. London, Thames & Hudson : [In association with] Imperial War Museum, 2005. ISBN 0-500-51238-8 Victoria K. Carchidi, Creation Out of the Void: the Making of a Hero, an Epic, a world: T. E. Lawrence, 1987 diss., U. Pennsylvania, (Ann Arbor, MI University Microfilms International). Richard Perceval Graves, Lawrence of Arabia and His World Robert Graves, Lawrence and the Arabs, London, Jonathan Cape, 1927 (published in the USA as Lawrence and the Arabian Adventure, New York, Doubleday, Doran, 1928). George Amin Hoffman, T. E. Lawrence (Lawrence of Arabia) and the M1911. John C. Hulsman, To Begin the World over Again: Lawrence of Arabia from Damascus to Baghdad, New York, Palgrave Macmillan, 2009. ISBN 978-0-230-61742-1

T. E. Lawrence H. Montgomery Hyde, Solitary in the Ranks. Lawrence of Arabia as Airman and Private Soldier, London, Constable, 1977. ISBN 0-09-462070-9 Phillip Knightley and Colin Simpson The Secret Lives of Lawrence of Arabia John E. Mack, A Prince of Our Disorder: The Life of T. E. Lawrence, Boston, Little, Brown, 1976, ISBN 0-316-54232-6. Karl E. Meyer and Shareen Blair Brysac, Kingmakers: the Invention of the Modern Middle East, New York, London, W.W. Norton, 2008, ISBN 978-0-393-06199-4. Suleiman Mousa, T.E. Lawrence: An Arab View, London, Oxford University Press, 1966. Anthony Nutting, Lawrence of Arabia: The Man and the Motive, London, Hollis & Carter, 1961. Victoria Ocampo, 338171 T. E. (Lawrence of Arabia), 1963. Harold Orlans, T. E. Lawrence: Biography of a Broken Hero, Jefferson, North Carolina, and London, McFarland, 2002, ISBN 0-7864-1307-7. Guy Penaud, Le Tour de France de Lawrence d'Arabie (1908), Editions de La Lauze (Prigueux, France), 336 pages, 2007/2008, ISBN 978-2-35249-024-1. Jacob Rosen, The Legacy of Lawrence and the New Arab Awakening, Israel Journal of Foreign Affairs, Vol. V, No. 3 (2011) (http://israelcfr.com/documents/5-3/5-3-8-JacobRosen.pdf) Franois Sarindar, Lawrence d'Arabie. Thomas Edward, cet inconnu, collection Comprendre le Moyen-Orient, L'Harmattan (Paris, France), 334 pages, 2010, ISBN 978-2-296-11677-1. Andrew R.B.Simpson, Another Life: Lawrence after Arabia, The History Press, 366 pages, 2008, ISBN 978-1-86227-464-8. Charles M. Stang, editor, The Waking Dream of T. E. Lawrence: Essays on His Life, Literature, and Legacy, Palgrave Macmillan, 2002. Desmond Stewart, T. E. Lawrence, New York, Harper & Row Publishers, 1977 Lowell Thomas, With Lawrence in Arabia, 1924 Jeremy Wilson, Lawrence of Arabia: The Authorised Biography of T.E. Lawrence, 1989, ISBN 0-689-11934-8. Lawrence of Arabia: The Battle for the Arab World, directed by James Hawes. PBS Home Video, 21 October 2003. (ASIN B0000BWVND) T. E. Lawrence by His Friends (http://books.google.com/books?id=KgSGAAAAIAAJ&dq=T.+E.+ Lawrence+by+His+Friends&q=homosexual&pgis=1#search_anchor), insights about Lawrence by those who knew him. Doubleday Doran, (1937). Republished 1967 Korda, Michael (2010). Hero: The Life and Legend of Lawrence of Arabia. Harper. ISBN978-0-06-171261-6. Footage of Lawrence of Arabia with publisher FN Doubleday and at a picnic (http://www.itnsource.com/ shotlist//BHC_RTV/1935/06/03/BGU407200240/)

16

External links
T. E. Lawrence Studies (http://www.telstudies.org/), maintained by Lawrence's authorised biographer Jeremy Wilson The T. E. Lawrence Society (http://www.telsociety.org.uk/) T.E. Lawrence's Original Letters on Palestine (http://www.shapell.org/manuscript. aspx?lawrence-of-arabia-seven-pillars) Shapell Manuscript Foundation Works by T. E. Lawrence T.E. Lawrence's Collection (http://research.hrc.utexas.edu:8080/hrcxtf/view?docId=ead/00073.xml/) at The University of Texas at Austin's Harry Ransom Center The Guardian May 19, 1935 - The death of Lawrence of Arabia (http://www.guardian.co.uk/theguardian/ 1935/may/19/fromthearchive) The Legend of Lawrence of Arabia: The Recalcitrant Hero (http://en.qantara.de/The-Recalcitrant-Hero/ 15932c16122i1p169/index.html)

T. E. Lawrence Creating History: Lowell Thomas and Lawrence of Arabia online history exhibit (http://www.cliohistory.org/ thomas-lawrence/) at Clio Visualizing History. T. E. Lawrence: The Enigmatic Lawrence of Arabia (http://www.historynet.com/magazines/military_history/ 3032226.html) article by O'Brien Browne Lawrence of Arabia: True and false (an Arab view) by Lucy Ladikoff (http://www.al-bushra.org/arabwrld/ lawrance.htm) T.E. Lawrence and Clouds Hill by Westrow Cooper in www.theglobaldispatches.com (http://www. theglobaldispatches.com/articles/t-e-lawrence-and-clouds-hill)

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18

2
Lawrence of Arabia (film)
Lawrence of Arabia
Theatrical release poster
Directed by Produced by Screenplay by Starring David Lean Sam Spiegel Robert Bolt Michael Wilson Peter O'Toole Alec Guinness Anthony Quinn Jack Hawkins Omar Sharif Maurice Jarre

Music by

Cinematography F.A. Young Editing by Studio Distributed by Release date(s) Running time Country Language Budget Box office Anne V. Coates Horizon Pictures Columbia Pictures

10December1962

216 minutes United Kingdom English $15 million $70 million

Lawrence of Arabia is a 1962 British epic film based on the life of T. E. Lawrence. It was directed by David Lean and produced by Sam Spiegel through his British company, Horizon Pictures, with the screenplay by Robert Bolt and Michael Wilson. The film stars Peter O'Toole in the title role. It is widely considered one of the greatest and most influential films in the history of cinema. The dramatic score by Maurice Jarre and the Super Panavision 70 cinematography by Freddie Young are also highly acclaimed. The film depicts Lawrence's experiences in Arabia during World War I, in particular his attacks on Aqaba and Damascus and his involvement in the Arab National Council. Its themes include Lawrence's emotional struggles with the personal violence inherent in war, his personal identity, and his divided allegiance between his native Britain and its army and his newfound comrades within the Arabian desert tribes.

Lawrence of Arabia (film)

19

Plot summary
The film is presented in two parts, separated by an intermission.

Part I
In 1935, T. E. Lawrence (Peter O'Toole) is killed in a motorcycle accident. At his memorial service at St Paul's Cathedral, a reporter tries to gain insights into this remarkable, enigmatic man from those who knew him, with little success. During the First World War, Lawrence is a misfit British Army lieutenant stationed in Cairo, notable for his insolence and knowledge. Over the objections of General Murray (Donald Wolfit), he is sent by Mr. Dryden (Claude Rains) of the Arab Bureau to assess the prospects of Prince Faisal (Alec Guinness) in his revolt against the Turks. On the journey, his Bedouin guide is killed by Sherif Ali (Omar Sharif) for drinking from a well without permission. Lawrence later meets Colonel Brighton (Anthony Quayle), who orders him to keep quiet, make his assessment of Faisal's camp, and leave. Lawrence promptly ignores Brighton's commands when he meets Faisal. His knowledge and outspokenness pique the Prince's interest. Brighton advises Faisal to retreat to Yenbo after a major defeat, but Lawrence proposes a daring surprise attack on Aqaba which, if successful, would provide a port from which the British could offload much-needed supplies. While strongly fortified against a naval assault, the town is lightly defended on the landward side. He convinces Faisal to provide fifty men, led by a sceptical Sherif Ali. Two teenage orphans, Daud (John Dimech) and Farraj (Michel Ray), attach themselves to Lawrence as his servants. They cross the Nefud Desert, considered impassable even by the Bedouins, travelling day and night on the last stage to reach water. Gasim (I. S. Johar) succumbs to fatigue and falls off his camel unnoticed during the night. The rest make it to an oasis, but Lawrence turns back for the lost man. Sherif Ali, won over, burns Lawrence's British uniform and gives him Arab robes to wear. Lawrence persuades Auda abu Tayi (Anthony Quinn), the leader of the powerful local Howeitat tribe, to turn against the Turks. Lawrence's plan is almost derailed when one of Ali's men kills one of Auda's because of a blood feud. Since Howeitat retaliation would shatter the fragile alliance, Lawrence declares that he will execute the murderer himself. Stunned to discover that the culprit is Gasim, he shoots him anyway. The next morning, the intact alliance overruns the Turkish garrison. Lawrence heads to Cairo to inform Dryden and the new commander, General Allenby (Jack Hawkins), of his victory. During the crossing of the Sinai Desert, Daud dies when he stumbles into quicksand. Lawrence is promoted to major and given arms and money to support the Arabs. He is deeply disturbed, confessing that he enjoyed executing Gasim, but Allenby brushes aside his qualms. He asks Allenby whether there is any basis for the Arabs' suspicions that the British have designs on Arabia. Pressed, the general states they have no such designs.

Part II
Lawrence launches a guerrilla war, blowing up trains and harassing the Turks at every turn. American war correspondent Jackson Bentley (Arthur Kennedy) publicises his exploits, making him world famous. On one raid, Farraj is badly injured. Unwilling to leave him to be tortured, Lawrence is forced to shoot him before fleeing. When Lawrence scouts the enemy-held city of Daraa with Ali, he is taken, along with several Arab residents, to the Turkish Bey (Jos Ferrer). Lawrence is stripped, ogled and prodded. For striking out at the Bey, he is severely flogged, then thrown out into the street. Lawrence is so traumatised by the experience that he abandons all of his exploits, going from having proclaimed himself a god, to insisting he is merely a man. He attempts to return to the British forces and swear off the desert, but he never fits in there. In Jerusalem, Allenby urges him to support his "big push" on Damascus, but Lawrence is a changed, tormented man, unwilling to return. After Allenby insists that Lawrence has a destiny, he finally relents. Lawrence naively believes that the warriors will come for him rather than

Lawrence of Arabia (film) for money. He recruits an army, mainly killers, mercenaries, and cutthroats motivated by money, rather than the Arab cause. They sight a column of retreating Turkish soldiers who have just slaughtered the people of the village of Tafas. One of Lawrence's men from the village demands, "No prisoners!" When Lawrence hesitates, the man charges the Turks alone and is killed. Lawrence takes up the dead man's cry, resulting in a massacre in which Lawrence himself participates with relish. Afterward, he realises the horrible consequences of what he has done. His men then take Damascus ahead of Allenby's forces. The Arabs set up a council to administer the city, but they are desert tribesmen, ill-suited for such a task. The various tribes argue among themselves and in spite of Lawrence's insistence, cannot unite against the English, who in the end take the city back under their bureaucracy. Unable to maintain the utilities and bickering constantly with each other, they soon abandon most of the city to the British. Promoted to colonel and immediately ordered home, his usefulness at an end to both Faisal and the British diplomats, a dejected Lawrence is driven away in a staff car.

20

Cast
Peter O'Toole as Thomas Edward "T. E." Lawrence. Albert Finney, at the time a virtual unknown, was Lean's first choice to play Lawrence, but Finney was not sure the film would be a success and turned it down. Marlon Brando was also offered the part, and Anthony Perkins and Montgomery Clift were briefly considered, before O'Toole was cast.[1] Alec Guinness had previously played Lawrence in the play Ross, and was briefly considered for the part, but David Lean and Sam Spiegel thought him too old. Lean had seen O'Toole in The Day They Robbed the Bank of England and was bowled over by his screen test, proclaiming "This is Lawrence!" Spiegel disliked O'Toole, having worked with him on Suddenly, Last Summer (where O'Toole was an understudy for Montgomery Clift and considered to take over his part after Clift's alcoholism caused problems), but acceded to Lean's demands after Finney and Brando dropped out. Pictures of Lawrence suggest also that O'Toole carried some resemblance to him, in spite of their considerable height difference. O'Toole's looks prompted a different reaction from Nol Coward, who after seeing the premire of the film quipped "If you had been any prettier, the film would have been called Florence of Arabia".[2] Alec Guinness as Prince Faisal. Faisal was originally to be portrayed by Laurence Olivier; Guinness, who performed in other David Lean films, got the part when Olivier dropped out. Guinness was made up to look as much like the real Faisal as possible; he recorded in his diaries that, while shooting in Jordan, he met several people who had known Faisal who actually mistook him for the late prince. Guinness said in interviews that he developed his Arab accent from a conversation he had with Omar Sharif. Anthony Quinn as Auda abu Tayi. Quinn got very much into his role; he spent hours applying his own makeup, using a photograph of the real Auda to make himself look as much like him as he could. One anecdote has Quinn arriving on-set for the first time in full costume, whereupon Lean, mistaking him for a native, asked his assistant to ring Quinn and notify him that they were replacing him with the new arrival. Jack Hawkins as General Allenby. Sam Spiegel pushed Lean to cast Cary Grant or Laurence Olivier (who was engaged at the Chichester Festival Theatre, and declined). Lean, however, convinced him to choose Hawkins due to his work for them on The Bridge on the River Kwai. Hawkins shaved his head for the role and reportedly clashed with David Lean several times during filming. Alec Guinness recounted that Hawkins was reprimanded by Lean for celebrating the end of a day's filming with an impromptu dance. Hawkins became close friends with O'Toole during filming, and the two often improvised dialogue during takes, much to Lean's dismay. Omar Sharif as Sherif Ali ibn el Kharish. The role was offered to many actors before Omar Sharif was cast. Horst Buchholz was the first choice, but had already signed on for the film One, Two, Three. Alain Delon had a successful screen test, but ultimately declined due to the brown contact lenses he would have had to wear. Maurice Ronet and Dilip Kumar were also considered.[3] Sharif, who was already a major star in the Middle East, was originally cast as Lawrence's guide Tafas, but when the above actors proved unsuitable, Sharif was shifted to

Lawrence of Arabia (film) the part of Ali. Jos Ferrer as the Turkish Bey. Ferrer was initially unsatisfied with the small size of his part, and accepted the role only on the condition of being paid $25,000 (more than O'Toole and Sharif combined) plus a factory-made Porsche.[4] However, he afterwards considered this his best film performance, saying in an interview: "If I was to be judged by any one film performance, it would be my five minutes in Lawrence." Peter O'Toole once said that he learned more about screen acting from Ferrer than he could in any acting class. Anthony Quayle as Colonel Harry Brighton. Quayle, a veteran of military roles, was cast after Jack Hawkins, the original choice, was shifted to the part of Allenby. Quayle and Lean argued over how to portray the character, with Lean feeling Brighton to be an honourable character, while Quayle thought him an idiot. Claude Rains as Mr. Dryden. Rains had previously worked with Lean on The Passionate Friends. Lean considered Rains one of his favourite actors and was happy to work with him again. Arthur Kennedy as Jackson Bentley. In the early days of the production, when the Bentley character had a more prominent role in the film, Kirk Douglas was considered for the part; Douglas expressed interest but demanded a star salary and the highest billing after O'Toole, thus being turned down by Spiegel. Later, Edmond O'Brien was cast in the part.[5] O'Brien filmed the Jerusalem scene, and (according to Omar Sharif) Bentley's political discussion with Ali, but he became ill due to a heart attack on location and had to be replaced at the last moment by Kennedy, who was recommended to Lean by Anthony Quinn.[6]

21

Donald Wolfit as General Murray. Wolfit was one of O'Toole's mentors. Michel Ray as Farraj. At the time, Ray was an up-and-coming Anglo-Brazilian actor, who had previously appeared in several films, including Irving Rapper's The Brave One and Anthony Mann's The Tin Star. This however would be one of his last roles. Ray, under the name Michel de Carvalho, later became a prominent British businessman and, through his wife, Charlene de Carvalho-Heineken, is the majority shareholder in the Heineken brewing company, worth over 8,000,000,000 sterling as of 2002. I.S. Johar as Gasim. Johar was a well-known Bollywood actor who occasionally appeared in international productions. Zia Mohyeddin as Tafas. Mohyeddin was one of Pakistan's best-known actors, and launched a successful stage career in London after this film's success. Most famously, he played Dr Aziz in the stage and TV adaptation of A Passage to India in the late 1960s. Gamil Ratib as Majid. Ratib was a veteran Egyptian actor. His English was not considered good enough, so he was dubbed by Robert Rietti in the final film. John Dimech as Daud. Dimech was a waiter from Malta. His only prior film appearance was in 1959's Killers of Kilimanjaro. Hugh Miller as the RAMC colonel. Miller worked on several of Lean's films as a dialogue coach, and was one of several members of the film crew to be given bit parts (see below). Fernando Sancho as the Turkish sergeant. A well-known Spanish actor, best remembered for his roles in many spaghetti Westerns. Stuart Saunders as the regimental sergeant major Jack Gwillim as the club secretary. A well-known English actor often playing supporting roles in British war films, Gwillim was recommended to Lean for the film by close friend Anthony Quayle. Kenneth Fortescue as Allenby's aide Harry Fowler as Corporal Potter Howard Marion-Crawford as the medical officer. Marion-Crawford was cast at the last possible minute, during the filming of the "Damascus" scenes in Seville. John Ruddock as Elder Harith. Ruddock was a noted Shakespearean actor. Norman Rossington as Corporal Jenkins Jack Hedley as a reporter

Lawrence of Arabia (film) Henry Oscar as Silliam, Faisal's servant. Oscar frequently played non-European parts, including the Sudanese doctor in The Four Feathers (1939). Peter Burton as a Damascus Sheik Various members of the film's crew portrayed minor characters. First assistant director Roy Stevens played the truck driver who transports Lawrence and Farraj to the Cairo HQ at the end of Act I; the Sergeant who stops Lawrence and Farraj ("Where do you think you're going to, Mustapha?") is construction assistant, Fred Bennett; and screenwriter Robert Bolt has a wordless cameo as one of the officers watching Allenby and Lawrence confer in the courtyard (he is smoking a pipe). Steve Birtles, the film's gaffer, plays the motorcyclist at the Suez Canal; David Lean himself is rumored to be the voice shouting "Who are you?" Finally, continuity girl Barbara Cole appears as one of the nurses in the Damascus hospital scene. The film is unusual in that it has no women in credited speaking roles.

22

Nonfictional characters
T. E. Lawrence Prince Faisal Auda ibu Tayi General Allenby General Murray Farraj and Daud, Lawrence's servants Gasim, the man Lawrence rescues from the desert Talal, the man who charges the Turkish column at Tafas

Fictional characters
Sherif Ali A combination of numerous Arab leaders, particularly Sharif NassirFaisal's cousinwho led the Harith forces involved in the attack on Aqaba. The character was created largely because Lawrence did not serve with any one Arab leader (aside from Auda) throughout the majority of the war; most such leaders were amalgamated in Ali's character. This character was, however, almost certainly named after Sharif Ali ibn Hussein, a leader in the Harith tribe, who played a part in the Revolt and is mentioned and pictured in T.E. Lawrence's memoir Seven Pillars of Wisdom. Mr Dryden The cynical Arab Bureau official was based loosely on numerous figures, including Sir Ronald Storrs, who was head of the Arab Bureau and later the governor of Palestine. It was largely Storrs' doing that Lawrence first met Faisal and became involved with the Revolt. This character is also partially based upon Lawrence's archaeologist friend, D.G. Hogarth, as well as Mark Sykes and Henry McMahon, who historically fulfilled Dryden's role as a political liaison. He was created by the screenwriters to "represent the civilian and political wing of British interests, to balance Allenby's military objectives." Colonel Brighton In essence a composite of all of the British officers who served in the Middle East with Lawrence, most notably Lt. Col. Stewart F. Newcombe. Newcombe played much the same role as Brighton does in the film, being Lawrence's predecessor as liaison to the Arab Revolt; he and many of his men were captured by the Turks in 1916, though he later escaped. Also, like Brighton, Newcombe was not well liked by the Arabs, though he remained friends with Lawrence. (In Michael Wilson's original script, he was Colonel Newcombe; the character's name was later changed by Robert Bolt.) Brighton was apparently created to represent how ordinary British soldiers would feel about a man like Lawrence: impressed by his accomplishments but repulsed by his affected manner. (Lean argued that Brighton was "the only honourable character" in the film, whereas Anthony Quayle referred to his character as an "idiot".) Turkish Bey The Turkish Bey who captures Lawrence in Deraa wasaccording to Lawrence himselfGeneral Hajim Bey (in Turkish, Hacim Muhiddin Bey), though he is not named in the film. Though the incident was

Lawrence of Arabia (film) mentioned in Lawrence's autobiography Seven Pillars of Wisdom. Some biographers (Jeremy Wilson, John Mack) argue that Lawrence's account is to be believed; others (Michael Asher, Lawrence James) argue that contemporary evidence suggests that Lawrence never went to Dera'a at this time and that the story is invented. Jackson Bentley Based on famed American journalist Lowell Thomas, who helped make Lawrence famous with accounts of his bravery. However, Thomas was at the time a young man who spent only a few days (or weeks at most) with Lawrence in the field unlike Bentley, who is depicted as a cynical middle-aged Chicago newspaperman who is present during the whole of Lawrence's later campaigns. Bentley was the narrator in Michael Wilson's original script, but Robert Bolt reduced his role significantly for the final script. Thomas did not start reporting on Lawrence until after the end of World War I, and held Lawrence in high regard, unlike Bentley, who seems to hold him in contempt. Tafas Lawrence's guide to Faisal is based on his actual guide, Sheikh Obeid el-Rashid, of the Hazimi branch of the Beni Salem, whom Lawrence referred to as Tafas several times in Seven Pillars. Tafas and Lawrence did meet Sherif Ali at a well during Lawrence's travels to Faisal, but the encounter was not fatal for either party. (Indeed, this scene would create much controversy among Arab viewers.) Medical officer This unnamed officer who confronts Lawrence in Damascus is based on an actual incident in Seven Pillars of Wisdom. Lawrence's meeting the officer again while in British uniform was, however, an invention of Wilson or Bolt.

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Historical accuracy
The historical accuracy of the film, and particularly its portrayal of Lawrence himself, has been called into question by numerous scholars.Wikipedia:Avoid weasel words Most of the film's characters are either real or based on real characters to varying degrees. The events depicted in the film are largely based on accepted historical fact and Lawrence's own writing about events, though they have various degrees of romanticisation. Some scenessuch as the attack on Aqabawere heavily fictionalised, while those dealing with the Arab Council were inaccurate, inasmuch as the council remained more or less in power in Syria until France deposed Faisal in 1920. Little background on the history of the region, the First World War, and the Arab Revolt is provided, probably due to Bolt's increased focus on Lawrence (while Wilson's draft script had a broader, more politicised version of events). The theme (in the second half of the film) that Lawrence's Arab army deserted almost to a man as he moved farther north was completely fictional. The film's timeline of the Arab Revolt and World War I, and the geography of the Hejaz region, are frequently questionable. For instance, Bentley interviews Faisal in late 1917, after the fall of Aqaba, saying the United States has not yet entered the war, yet America had been in the war for several months by that point in time. Further, Lawrence's involvement in the Arab Revolt prior to the attack on Aqabasuch as his involvement in the seizures of Yenbo and Wejhis completely excised. The rescue and execution of Gasim is based on two separate incidents, which were conflated together for dramatic reasons. The film shows Lawrence representing the Allied cause in the Hejaz almost alone with only one British officer, Colonel Brighton (Anthony Quayle) there to assist him. In fact, there were numerous British officers such as Colonel Cyril Wilson, Stewart Francis Newcombe and Colonel Pierce C. Joyce, all of whom arrived before Lawrence serving in Arabia.[7] In addition, there was a French military mission led by Colonel Edouard Brmond serving in the Hejaz, of which no mention is made in the film.[8] The film shows Lawrence as the sole originator of the attacks on the Hejaz railroad. The first attacks on the Hejaz railroad began in early January 1917 led by officers such as Newcombe.[9] The first successful attack on the Hejaz railroad with a locomotive-destroying "Garland mine" was led by Major H. Garland in February 1917, a month before Lawrence's first attack on the railroad in March 1917.[10] The film shows the Hashemite forces as comprising Bedouin guerrillas, whereas in fact the core of the Hashemite forces was the Regular Arab Army recruited from Ottoman Arab POWs, who wore British-style uniforms with keffiyahs and fought in conventional battles.[11] The film makes no mention of the Sharifian Army, and leaves the viewer with the impression that the Hashemite forces were composed exclusively of Bedouin irregulars.

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Representation of Lawrence
Many complaints about the film's accuracy, however, centre on the characterisation of Lawrence himself. The perceived problems with the portrayal of Lawrence begin with the differences in his physical appearance: the 6-foot 2-inch (1.87 m) Peter O'Toole was almost nine inches (23cm) taller than the real Lawrence.[citation needed] His behaviour, however, has caused much more debate. The screenwriters depict Lawrence as an egotist. The degree to which Lawrence sought or shunned attention, such as his use after the war of various assumed names, is a matter of debate. Even during the war, Lowell Thomas wrote in With Lawrence in Arabia that he could take pictures of him only by tricking him, although Lawrence did later Peter O'Toole as T. E. Lawrence agree to pose for several pictures for Thomas's stage show. Thomas's famous comment that Lawrence "had a genius for backing into the limelight" referred to the fact that his extraordinary actions prevented him from being as private as he would have liked. Others disagree, pointing to Lawrence's own writings in Seven Pillars of Wisdom to support the argument that he was egotistical. Lawrence's sexual orientation remains a controversial topic among historians; though Bolt's primary source was ostensibly Seven Pillars, the film's portrayal seems informed by Richard Aldington's then-recent Biographical Inquiry (1955), which posited among other things that Lawrence was homosexual. The film features Lawrence's alleged sadomasochism as a major part of his character (for instance, his "match trick" in Cairo, his "enjoyment" of killing Gasim); while Lawrence almost certainly engaged in flagellation and like activities after the Deraa incident, there is no biographical evidence he was a masochist prior to that incident. The film's depiction of Lawrence as an active participant in the Tafas Massacre was disputed at the time by historians, including Lawrence's biographer Basil Liddell Hart, but most current biographers accept the film's portrayal of the massacre as reasonably accurate. Although the film does show that Lawrence could speak and read Arabic, could quote the Quran, and was reasonably knowledgeable about the region, it barely mentions his archaeological travels from 1911 to 1914 in Syria and Arabia, and ignores his espionage work, including a pre-war topographical survey of the Sinai Peninsula and his attempts to negotiate the release of British prisoners at Kut in Mesopotamia in 1916. Furthermore, in the film, Lawrence is only made aware of the SykesPicot Agreement very late in the story and is shown to be appalled by it whereas the "real" Lawrence, while fighting alongside the Arabs, knew about it much earlier.[12] Lawrence's biographers have had a mixed reaction towards the film. Authorised biographer Jeremy Wilson noted that the film has "undoubtedly influenced the perceptions of some subsequent biographers" such as the depiction of the film's Ali as the real Sherif Ali, rather than a composite character, and also the highlighting of the Deraa incident.[13] (In fairness to Lean and his writers, the Deraa connection was made by several Lawrence biographers, including Edward Robinson (Lawrence the Rebel) and Anthony Nutting (The Man and the Motive) before the film's release.) The film's historical inaccuracies are, in Wilson's view, more troublesome than what can be allowed under normal dramatic license. Contemporary biographer Basil Liddell Hart publicly criticised the film, engaging screenwriter Robert Bolt in a lengthy correspondence over the film's portrayal of Lawrence.[14]

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Representation of other characters

The film portrays General Allenby as cynical and manipulative, with a superior attitude to Lawrence, but there is much evidence that Allenby and Lawrence respected and liked each other. Lawrence once said that Allenby was "an admiration of mine"[15] and later that he was "physically large and confident and morally so great that the comprehension of our littleness came slow to him".[16] In contrast to the fictional Allenby's words at Lawrence's funeral in the film, upon Lawrence's death Allenby remarked, "I have lost a good friend and a valued comrade. Lawrence was under my command, but, after acquainting him with my strategical plan, I gave him a free hand. His co-operation was marked by the utmost loyalty, and I never had anything but praise for his work, which, indeed, was invaluable throughout the campaign."[17] Allenby also spoke highly of him on numerous other occasions, and much to Lawrence's delight, publicly endorsed the accuracy of Seven Pillars of Wisdom. Although Allenby did manipulate Lawrence during the war, their relationship lasted for years after its end, indicating that in real-life they were friendly, if not close. The Allenby family was particularly upset by the Damascus scenes, where Allenby coldly allows the town to fall into chaos as the Arab Council collapses.[18] Similarly, General Murray, though initially sceptical of the Arab Revolt's potential, thought highly of Lawrence's abilities as an intelligence officer; indeed, it was largely through Lawrence's persuasion that Murray came to support the revolt. The intense dislike shown toward Lawrence in the film is in fact the opposite of Murray's real feelings, although for his part Lawrence seemed not to hold Murray in any high regard. The depiction of Auda abu Tayi as a man interested only in loot and money is also at odds with the historical record. Although Auda did at first join the Arab Revolt for monetary reasons, he quickly became a steadfast supporter of Arab independence. Notably after Aqaba's capture, he refused repeated bribery attempts by the Turks (though he happily pocketed their money) and remained loyal to the Revolt. He was present with Lawrence from the beginning of the Aqaba expedition and in fact helped plan it along with Lawrence and Prince Faisal. Faisal, far from being the middle-aged man depicted, was in reality in his early thirties at the time of the revolt. Faisal and Lawrence respected each others' capabilities and intelligence. They worked well together.[19] A particularly telling fact of the film's inaccuracies is the reaction of those who knew Lawrence and the other characters. The most vehement critic of the film's inaccuracy was Professor A.W.(Arnold) Lawrence, T.E.'s younger brother and literary executor, who had sold the rights to Seven Pillars of Wisdom to Sam Spiegel for 25,000. Arnold went on a campaign in the United States and Britain denouncing the film, famously saying, "I should not have recognised my own brother". In one pointed talk show appearance, Arnold remarked that he had found the film pretentious and false." He went on to say that his brother was "one of the nicest, kindest and most exhilarating people Ive known. He often appeared cheerful when he was unhappy. Later, to the New York Times, Arnold said, [The film is] a psychological recipe. Take an ounce of narcissism, a pound of exhibitionism, a pint of sadism, a gallon of blood-lust and a sprinkle of other aberrations and stir well. Lowell Thomas was also critical of the portrayal of Lawrence and most of the film's characters, believing that the train attack scenes were the only reasonably accurate aspect of the film. The criticisms were not restricted to Lawrence. The Allenby family lodged a formal complaint against Columbia about the portrayal of their ancestor. Descendants of Auda abu Tayi and the real Sherif Ali, despite the fact that the film's Ali was fictional, went further, actively suing Columbia due to the portrayal of their ancestors. The Auda case went on for almost ten years before it was finally dropped.[20] Biographer Michael Korda, author of Hero: The Life and Legend of Lawrence of Arabia, offers a different opinion. While the film is neither "the full story of Lawrence's life or a completely accurate account of the two years he spent fighting with the Arabs," Korda argues that criticising its inaccuracy "misses the point": "The object was to produce, not a faithful docudrama that would educate the audience, but a hit picture."[21] Stephen E. Tabachnick goes further than Korda, arguing that the film's portrayal of Lawrence is "appropriate and true to the text of Seven Pillars of Wisdom."[22] The British historian of the Arab Revolt, David Murphy wrote that though the film was flawed due to various inaccuracies and omissions, "it was a truly epic movie and is rightly seen as a classic".[23]

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Production
Pre-production
Previous films about T. E. Lawrence had been planned but had not been made. In the 1940s, Alexander Korda was interested in filming The Seven Pillars of Wisdom with either Laurence Olivier, Leslie Howard or Robert Donat as Lawrence, but had to pull out due to financial difficulties. David Lean himself had been approached to direct a 1952 version for the Rank Organisation, but the project fell through. Also, at the same time as pre-production of the film, Terence Rattigan was developing his play Ross which centred primarily on Lawrence's alleged homosexuality. Ross had begun life as a screenplay, but was re-written for the stage when the film project fell through. Sam Spiegel grew furious and unsuccessfully attempted to have the play suppressed, furor at which helped to gain publicity for the film.[24] Dirk Bogarde had accepted the role in Ross; he described the cancellation of the project as "my bitterest disappointment". Alec Guinness would play the role on stage. Lean and Sam Spiegel were coming off the huge success of The Bridge on the River Kwai, and were eager to work together again. For a time, Lean was interested in a biopic of Gandhi, with Alec Guinness to play the title role and Emeric Pressburger writing the screenplay. Despite extensive pre-production work (including location scouting in India and a meeting with Jawaharlal Nehru), Lean eventually lost interest in the project.[25] Lean then returned his attention to T.E. Lawrence. Columbia Pictures had an interest in a Lawrence project dating back to the early '50s, and when Spiegel convinced a reluctant A.W. Lawrence to sell the rights to The Seven Pillars of Wisdom for 25,000, the project got underway. When Lawrence of Arabia was first announced, Lawrence's biographer Lowell Thomas offered producer Spiegel and screenwriters Bolt and Wilson a large amount of research material he had produced on Lawrence during and after his time with him in the Arab Revolt. Spiegel rejected the offer.[citation needed] Michael Wilson wrote the original draft of the screenplay. However, Lean was dissatisfied with Wilson's work, primarily because his treatment had a clear focus on the historical and political aspects of the Arab Revolt. Lean hired Robert Bolt to re-write the script in order to make it a character study of Lawrence himself. While many of the characters and scenes are Wilson's invention, virtually all of the dialogue in the finished film was written by Bolt. Lean reportedly watched John Ford's film The Searchers (1956) to help him develop ideas as to how to shoot the film. Several scenes in the film directly recall Ford's film, most notably Ali's entrance at the well and the composition of many of the desert scenes and the dramatic exit from Wadi Rum. Lean biographer Kevin Brownlow even notes the physical similarity between Rumm and Ford's Monument Valley.[26] The film's plot structure also bears similarity to Orson Welles's Citizen Kane (1941), particularly the opening scenes with Lawrence's death and the reporter inquiring notables at Lawrence's funeral.

Filming
The film was made by Horizon Pictures and Columbia Pictures. Shooting began on 15 May 1961 and ended on 20 October 1962. The desert scenes were shot in Jordan and Morocco, as well as Almera and Doana in Spain. The film was originally to be filmed entirely in Jordan: the government of King Hussein was extremely helpful in providing logistical assistance, location scouting, transportation, and extras; Hussein himself visited the set several times during production and maintained cordial relationships with cast and crew. During the production of the film, Hussein met and married Toni Gardner, who was working as a switchboard operator in Aqaba. The only tension occurred when Jordanian officials learned that English actor Henry Oscar, who did not speak Arabic, would be filmed reciting the Qur'an; permission was granted only on condition that an imam be present to ensure that there were no misquotations.

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In Jordan, Lean planned to film in the real Aqaba and the archaeological site at Petra, which Lawrence had been fond of as a place of study. However, the production had to be moved to Spain, much to Lean's regret, due to cost and outbreaks of illness among the cast and crew before these scenes could be shot. The attack on Aqaba (one of the more stirring and memorable scenes in the film, with a spectacular pan shot of dust rising up from behind the charging Arabs while Turkish cannons are aimed harmlessly out to sea) was reconstructed in a dried river bed in southern Spain (at 37125N 15253W37.02361N 1.88139W [27]); it consisted of over 300 buildings and was meticulously based on the town's appearance in 1917. The execution of Gasim, the train attacks and Deraa exteriors were filmed in the Almera region, with the former's filming being delayed because of a flash flood. The Sierra Nevada mountains filled in for Azrak, Lawrence's winter quarters. The city of Seville was used to represent Cairo, Jerusalem and Damascus, with the appearance of Casa de Pilatos, the Alczar of Seville and the Plaza de Espaa. All of the interiors were shot in Spain, including Lawrence's first meeting with Faisal and the scene in Auda's tent. The Tafas massacre was filmed in Ouarzazate, Morocco, with Moroccan army troops substituting for the Turkish army; however, Lean could not film as much as he wanted because the soldiers were uncooperative and impatient.[28] One of the second-unit directors for the Morocco scenes was Andr de Toth, who suggested a shot wherein bags of blood would be machine-gunned, spraying the screen with blood. Second-unit cinematographer Nicolas Roeg approached Lean with this idea, but Lean found it disgusting. De Toth subsequently left the project.

The Mudjar pavilion of the Parque de Mara Luisa in Seville appeared as Jerusalem.

The Plaza de Espaa in Seville appeared as the officers' club in Cairo.

The film's production was frequently delayed because, unusually, the film started shooting without a finished script. After Wilson quit early in the production, playwright Beverley Cross worked on the script in the interim before Bolt took over, although none of Cross's material made it to the final film. A further mishap occurred when Bolt was arrested for taking part in an anti-nuclear weapons demonstration, and Spiegel had to persuade Bolt to sign a recognizance of good behaviour for him to be released from jail and continue working on the script. Camels caused several problems on set. O'Toole was not used to riding camels and found the saddle to be uncomfortable. While in Amman during a break in filming, he bought a piece of foam rubber at a market and added it to his saddle. Many of the extras copied the idea and sheets of the foam can be seen on many of the horse and camel saddles. The Bedouins nicknamed O'Toole "'Ab al-'Isfanjah" () , meaning "Father of the Sponge".[29] The idea spread and to this day, many Bedouins add foam rubber to their saddles. Later, during the filming of the Aqaba scene, O'Toole was nearly killed when he fell from his camel, but fortunately, it stood over him, preventing the horses of the extras from trampling him. Coincidentally a very similar mishap befell the real Lawrence at the Battle of Abu El Lissal in 1917. In another mishap, O'Toole seriously injured his hand during filming by punching through the window of a caravan while drunk. A brace or bandage can be seen on his left thumb during the first train attack scene, presumably due to this incident.

Lawrence of Arabia (film) Along with many other Arab countries, Jordan would ban the film for what they felt to be a disrespectful portrayal of Arab culture. Egypt, Omar Sharif's home country, was the only Arab nation to give the film a wide release, where it became a success through the endorsement of President Gamal Abdel Nasser, who appreciated the film's depiction of Arab nationalism.

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Music
The score was composed by Maurice Jarre, little known at the time and selected only after both William Walton and Malcolm Arnold had proved unavailable. Jarre was given just six weeks to compose two hours of orchestral music for Lawrence.[30] The score was performed by the London Philharmonic Orchestra. Although Sir Adrian Boult is credited as the conductor of the score in the film's credits, he could not conduct most of the score, due in part to his failure to adapt to the intricate timings of each cue, and Jarre replaced him as the conductor. The score went on to garner Jarre his first Academy Award for Music ScoreSubstantially Original[31] and is now considered one of the greatest scores of all time, ranking number three on the American Film Institute's top twenty-five film scores.[32] The original soundtrack recording was originally released on Colpix Records, the records division of Columbia Pictures, in 1962. A remastered edition appeared on Castle Music, a division of the Sanctuary Records Group, on 28 August 2006. Kenneth Alford's march The Voice of the Guns (1917) is prominently featured on the soundtrack. One of Alford's other pieces, the Colonel Bogey March, was the musical theme for Lean's previous film, The Bridge on the River Kwai. However, a complete recording of the score was not heard until 2010, when Tadlow Music produced a CD of the music, with Nic Raine conducting The City of Prague Philharmonic Orchestra from scores reconstructed by Leigh Phillips.

Release
Theatrical run
The film premiered at the Odeon Leicester Square in London on 10 December 1962 (Royal Premiere) and was released in the United States on 16 December 1962. The original release ran for about 222minutes (plus overture, intermission, and exit music). A post-premiere memo (13 Dec. 1962) noted that the film was 24,987.5ft (70mm) and 19,990ft (35mm). With 90ft of 35mm film projected every minute, this corresponds to exactly 222.11 minutes. In an email to Robert Morris, co-author of a book on Lawrence of Arabia, Richard May, VP Film Preservation at Warner Bros., noted that Gone With the Wind, never edited after its premiere, is 19,884ft of 35mm film (without leaders, overture, intermission, entr'acte or walkout music) corresponding to 220.93 min. Thus, Lawrence of Arabia, slightly more than 1 minute longer than Gone With the Wind, is the longest movie ever to win a Best Picture Oscar. In January 1963, Lawrence was released in a version edited by 20 minutes; when it was re-released in 1971, an even shorter cut of 187minutes was presented. The first round of cuts was made at the direction and even insistence of David Lean, to assuage criticisms of the film's length and increase the number of showings per day; however, during the 1989 restoration, he would later pass blame for the cuts onto by-then-deceased producer Sam Spiegel.[33] In addition, a 1966 print, used for initial television and video releases, accidentally altered a few scenes by reversing the image.[34] The film was screened out of competition at the 1989 Cannes Film Festival.[] and at the 2012 Karlovy Vary International Film Festival.[]

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Restored director's cut

The current "restored version", undertaken by Robert A. Harris and Jim Painten (under the supervision of director David Lean), was released in 1989 with a 216-minute length (plus overture, intermission, and exit music). Most of the cut scenes were dialogue sequences, particularly those involving General Allenby and his staff. Two whole scenesBrighton's briefing of Allenby in Jerusalem before the Daraa scene and the British staff meeting in the field tentwere completely excised, and the former has still not been entirely restored. Much of the missing dialogue involves Lawrence's writing of poetry and verse, alluded to by Allenby in particular, saying "the last poetry general we had was Wellington". The opening of Act II, where Faisal is interviewed by Bentley, and the later scene, in Jerusalem where Allenby convinces Lawrence not to resign, existed in only fragmented form; they were restored to the 1989 re-release. Some of the more graphic shots of the Tafas massacre scenethe lengthy panning shot of the corpses in Tafas, and Lawrence shooting a surrendering Turkish soldierwere also restored. Most of the still-missing footage is of minimal import, supplementing existing scenes. One scene is an extended version of the Daraa rape sequence, which makes Lawrence's punishment in that scene more overt. Other scripted scenes exist, including a conversation between Auda and Lawrence immediately after the fall of Aqaba, a brief scene of Turkish officers noting the extent of Lawrence's campaign, and the battle of Petra (later reworked into the first train attack), but these scenes were probably not filmed. The actors still living at the time of the re-release dubbed their own dialogue, though Jack Hawkins's dialogue had to be dubbed by Charles Gray (who had already done Hawkins' voice for several films after the former developed throat cancer in the late 1960s). A full list of cuts can be found at the Internet Movie Database.[35] Reasons for the cuts of various scenes can be found in Lean's notes to Sam Spiegel, Robert Bolt, and Anne V. Coates.[36] The film runs 227minutes in the most recent director's cut available on Blu-ray Disc and DVD.[citation needed]

Home media
Lawrence of Arabia has been released in five different DVD editions, including an initial release as a two-disc set (2001), followed by a shorter single disc edition (2002), a high resolution version of the director's cut with restored scenes (2003) issued as part of the Superbit series, as part of the Columbia Best Pictures collection (2008), and in a fully restored special edition of the director's cut (2008).[] Martin Scorsese and Steven Spielberg helped restore a version of the film for a DVD release in 2000.[37]

New restoration, Blu-ray and theatrical re-release

An 8K scan/4K intermediate digital restoration was made for Blu-ray and theatrical re-release[] during 2012 by Sony Pictures to celebrate the film's 50th anniversary.[38] The Blu-ray edition of the film was released in the United Kingdom on 10 September 2012 and in the United States on 13 November 2012.[39] The film received a one-day theatrical release on 4 October 2012, a two-day release in Canada on 11 and 15 November 2012, and was also re-released in the United Kingdom on 23 November 2012.[40] According to Grover Crisp, executive VP of restoration at Sony Pictures, the new 8K scan has such high resolution that when examined, showed a series of fine concentric lines in a pattern "reminiscent of a fingerprint" near the top of the frame. This was caused by the film emulsion melting and cracking in the desert heat during production. Sony had to hire a third party to minimize or eliminate the rippling artifacts in the new restored version.[] A 4K digitally-restored version of the film was screened at the 2012 Cannes Film Festival,[41][42] at the 2012 Karlovy Vary International Film Festival,[] at the V Janela Internacional de Cinema[43] in Recife, Brazil, and at the 2013 Cinequest Film Festival in San Jose California.[44]

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Reception
Upon its release, Lawrence was a huge critical and financial success and it remains popular among viewers and critics alike. The striking visuals, dramatic music, literate screenplay and superb performance by Peter O'Toole have all been common points of acclaim and the film as a whole is widely considered one of the greatest films ever made. Its visual style has influenced many directors, including George Lucas, Sam Peckinpah, Martin Scorsese and Steven Spielberg, who called the film a "miracle".[45] The film is regarded as a masterpiece of world cinema and is ranked highly on many lists of the best films ever made. The American Film Institute ranked the film 5th in its original and 7th in its updated list of the greatest films and first in its list of the greatest films of the "epic" genre.[46] In 1991, the film was deemed "culturally, historically, or aesthetically significant" by the Library of Congress and selected for preservation in the United States National Film Registry. In 1999 the film placed third in a BFI poll of the best British films and in 2001 the magazine Total Film called it "as shockingly beautiful and hugely intelligent as any film ever made" and "faultless".[47] It has also ranked in the top ten films of all time in a Sight and Sound directors' poll. Additionally, O'Toole's performance has also often been considered one of the greatest of all time, topping lists made by both Entertainment Weekly and Premiere. However, some criticsnotably Bosley Crowther[48] and Andrew Sarris[49]have criticised the film for an indefinite portrayal of Lawrence and lack of depth.

Awards and honours

Award 35th Academy Awards [] (Academy of Motion Picture Arts and Sciences) Best Picture Best Director Best Art Direction Best Cinematography Best Substantially Original Score Best Film Editing Best Sound Best Actor Best Supporting Actor Best Adapted Screenplay 16th British Academy Film Awards (British Academy of Film and Television Arts) Best Film from any Source Best British Film Best British Actor Best British Screenplay Best Foreign Actor 20th Golden Globe Awards (Hollywood Foreign Press Association) Best Motion Picture Drama Best Director of a Motion Picture Best Supporting Actor Most Promising Newcomer Male Best Cinematography, Color Most Promising Newcomer Male Category Sam Spiegel David Lean John Box, John Stoll and Dario Simoni Frederick A. Young Maurice Jarre Ann V. Coates John Cox Peter O'Toole Omar Sharif Robert Bolt and Michael Wilson Sam Spiegel and David Lean Sam Spiegel and David Lean Peter O'Toole Robert Bolt and Michael Wilson Anthony Quinn David Lean and Sam Spiegel David Lean Omar Sharif Omar Sharif Frederick A. Young Peter O'Toole Name Outcome Won Won Won Won Won Won Won Nominated Nominated Nominated Won Won Won Won Nominated Won Won Won Won Won Nominated

Lawrence of Arabia (film) Directors Guild of America Outstanding Directorial Achievement David Lean David di Donatello Awards Best Foreign Film Sam Spiegel British Society of Cinematographers Best Cinematography Award Freddie Young Italian National Syndicate of Film Journalists Best Director Foreign Film David Lean Kinema Junpo Awards Best Foreign Language Film David Lean National Board of Review Best Director David Lean Writers' Guild of Great Britain Best British Dramatic Screenplay Robert Bolt, Michael Wilson American Film Institute recognition 1998 AFI's 100 Years...100 Movies #5 2001 AFI's 100 Years...100 Thrills #23 2003 AFI's 100 Years...100 Heroes and Villains: T.E. Lawrence, hero #10 2005 AFI's 100 Years of Film Scores #3 2006 AFI's 100 Years...100 Cheers #30 2007 AFI's 100 Years...100 Movies (10th Anniversary Edition) #7 2008 AFI's 10 Top 10 #1 Epic film

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Legacy
The use of the locations in Almera, Spain for the train sequences and others made that region popular with international film makers. Most famously, it became the setting of virtually all of the Spaghetti Westerns of the '60s and '70s, specifically those of Sergio Leone. (The oasis set from Lawrence briefly appears in Leone's 1965 film For a Few Dollars More.)[citation needed] Many of the sets used or built for the film were re-used in later films, including John Milius's The Wind and the Lion (1975), which used several of the same palaces in Seville and the Aqaba set as the setting for its climactic battle, while the Plaza de Espaa appears in Star Wars Episode II: Attack of the Clones (2002), as the Theed Palace. The main musical title of the film was used in the James Bond film The Spy Who Loved Me (1977) in the scene where Roger Moore and Barbara Bach's characters have to wander through the desert after their van breaks down. This was done as a joke by one of the editors who liked to play music from the film during the daily rushes. The main musical title of the film was also used in the 1987 science fiction parody film Spaceballs, when the Winnebago crashes on the sand planet and the crew is forced to walk the desert. Film director Steven Spielberg considers this his favourite film of all time and the one that convinced him to become a filmmaker.[50] Screenwriter William Monahan, who scripted Kingdom of Heaven and The Departed, among others, is a fan of Robert Bolt and has stated on numerous occasions that viewing Lawrence is what inspired him to be a screenwriter. The scene of Lawrence showing off the 'match trick' is shown, converted into 3D, in Ridley Scott's 2012 film Prometheus. A piece of viral marketing for the film starring Guy Pearce also references the scene at a TED

Lawrence of Arabia (film) conference in 2032, and Michael Fassbender's android character David 8 in the film models his looks and voice after O'Toole's in Lawrence of Arabia.

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Sequel
In 1990, the made-for-television film A Dangerous Man: Lawrence After Arabia was produced as a sequel to Lawrence of Arabia. It featured Ralph Fiennes as Lawrence and Alexander Siddig as Prince Faisal. The movie dealt primarily with the attempts of Lawrence and Faisal to secure independence for Arabia during the 1919 Versailles Conference following the end of World War I. A principal departure from the earlier film shows Faisal closer in age to Lawrence, and in sometimes troubled roles of friendship and collaboration with him - a clear echo of Lawrence's friendship with Sherif Ali in the original. The film was generally well received and deals more with the political ramifications of Lawrence's efforts in the Middle East.

Notes
[7] Murphy, David The Arab Revolt 1916-1918, London: Osprey, 2008 page 17 [8] Murphy, David The Arab Revolt 1916-1918, London: Osprey, 2008 page 18 [9] Murphy, David The Arab Revolt 1916-1918, London: Osprey, 2008 page 39 [10] Murphy, David The Arab Revolt 1916-1918, London: Osprey, 2008 pages 43-44 [11] Murphy, David The Arab Revolt 1916-1918, London: Osprey, 2008 page 24 [12] cf. Jeremy Wilson, Lawrence of Arabia: The Authorized Biography of T.E. Lawrence (1990), pp. 409410 [14] L. Robert Morris and Lawrence Raskin. Lawrence of Arabia: The 30th Anniversary Pictorial History. pp. 149-156 [18] Steven C. Caton, Lawrence of Arabia: A Film's Anthropology, p. 59 [20] Adrian Turner, Robert Bolt: Scenes From Two Lives, 201206 [21] Korda, pp. 693694 [22] Lawrence of Arabia: An Encyclopedia. Westport, CT: Greenwood, Press, 2004. p. 24 [23] Murphy, David The Arab Revolt, Osprey: London, 2008 pages 88-89 [27] http:/ / toolserver. org/ ~geohack/ geohack. php?pagename=Lawrence_of_Arabia_(film)& params=37_1_25_N_1_52_53_W_region:ES_type:landmark [29] Peter O'Toole, interview on the Late Show with David Letterman, 11 May 1995. [30] The Economist. Obituary: Maurice Jarre. April 16, 2009. [31] Oscars.org (http:/ / awardsdatabase. oscars. org/ ampas_awards/ DisplayMain. jsp;jsessionid=8F5F6247D39A404C7AFB85E4B340603F?curTime=1292597039486) [32] Maurice Jarre on AFI.com (http:/ / www. afi. com/ 100years/ scores. aspx) [34] Caton, S.C. (1999). Lawrence of Arabia: A Film's Anthropology (pp. 129-131). Berkeley/Los Angeles, CA: University of California Press. ISBN 0-520-21082-4. [38] http:/ / www. blu-raydefinition. com/ news/ lawrence-of-arabia-on-blu-ray-later-this-year. html [39] http:/ / hometheater. about. com/ b/ 2012/ 08/ 07/ lawrence-of-arabia-blu-ray-disc-release-finalized. htm [40] http:/ / www. imdb. com/ title/ tt0056172/ releaseinfo [41] http:/ / www. festival-cannes. fr/ en/ article/ 58952. html [42] http:/ / www. indiewire. com/ article/ jaws-lawrence-of-arabia-once-upon-a-time-in-america-and-tess-to-get-the-cannes-classics-treatment# [43] http:/ / www. janeladecinema. com. br [44] cinequest.org [45] http:/ / www. top10films. co. uk/ archives/ 3244 [47] http:/ / www. totalfilm. com/ reviews/ dvd/ lawrence-of-arabia-two-disc-set [49] http:/ / www. kirjasto. sci. fi/ telawren. htm [50] DVD documentary, A Conversation with Steven Spielberg

Lawrence of Arabia (film)

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References
Brownlow, Kevin (1996). David Lean: A Biography. Richard Cohen Books. ISBN978-1-86066-042-9. Turner, Adrian (1994). The Making of David Lean's Lawrence of Arabia. Dragon's World Ltd. ISBN978-1-85028-211-2.

Further reading
Morris, L. Robert and Raskin, Lawrence (1992). Lawrence of Arabia: the 30th Anniversary Pictorial History. Doubleday & Anchor, New York. A book on the creation of the film, authorised by Sir David Lean.

External links
Lawrence of Arabia (http://www.imdb.com/title/tt0056172/) at the Internet Movie Database Lawrence of Arabia (http://www.allrovi.com/movies/movie/v28608) at AllRovi Lawrence of Arabia (http://www.boxofficemojo.com/movies/?id=lawrenceofarabia.htm) at Box Office Mojo Lawrence of Arabia (http://www.metacritic.com/movie/lawrence-of-arabia) at Metacritic Lawrence of Arabia (http://www.rottentomatoes.com/m/lawrence_of_arabia/) at Rotten Tomatoes

Lawrence of Arabia (http://www.youtube.com/watch?v=qcD9SkM_eQo&feature=related) "Making of" trailer at YouTube Lawrence of Arabia (http://www.youtube.com/watch?v=ZsIhjgHQBsY&feature=related) Theatrical trailer at YouTube Essay on the Lawrence of Arabia film (http://www.cliohistory.org/thomas-lawrence/movie/) in the "Lowell Thomas and Lawrence of Arabia" online exhibit at Clio Visualizing History

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Article Sources and Contributors

T. E. Lawrence Source: http://en.wikipedia.org/w/index.php?oldid=545182137 Contributors: 14tharmy, 49danesway, 5 albert square, A D Monroe III, A.Flanders, A.S. Brown, AJR, AK456, ALR, Ablebakerus, Abraham, B.S., Adamnelson, Addshore, AdjustShift, Advance, Ajdodsworth, Akanksha arora, Al Silonov, Alamandrax, AlbertSM, Alice Elliott, AlistairMcMillan, Alkivar, All Hallow's Wraith, AllstonTMitchell, Almutwoller, Anbu121, Andrevan, Andrew Gray, Andrew.r.b.simpson, Ankit Maity, Anna512, Apeloverage, Apollomelos, Aratuk, Arcturus, Aristofane di bisanzio, Aristotelle, Armeria, ArtGriggs, Asabbagh, Asmaybe, Astorian, Auricfuzz, Avengerx, Axelode, Axeman89, Aytharn, BRUTE, Balgonie, Balliol, Barliner, Barneca, BarretB, Bash, Bashereyre, Baykan, Behemoth, Beland, Ben Ward, Ben davison, Bettymnz4, Bfinn, Bigjimr, Bigtimepeace, Bigturtle, BillFlis, Binabik80, Biot, Bkkbrad, Blahglob18, Bobblewik, Bongwarrior, Bonisa, Bradby, Briaboru, Britmax, Brother Officer, Bubba hotep, Bzfgt, CA387, CJ DUB, CS46, CallMeHenry, Calliopejen1, Calpurnia, CambridgeBayWeather, Campaigner80, Caponer, Captainclegg, Caracaskid, Catapult, Catsmeat, Ccacsmss, Cdbavg400, Cgs, Chadabouaf, Chie one, Chinawhitecotton, Chiswick Chap, Choess, Chris j wood, Chris the speller, ChrisCharles, Chrism, Cjrother, Cla68, Clarityfiend, ClaudeMuncey, Clicketyclack, Closedmouth, Cocover, CommonsDelinker, Confusedmiked, Cosprings, Craigy144, Crazy Ivan (usurped), Csernica, Currylj, Cyp, D6, DAFMM, DJac75, DO'Neil, DOHC Holiday, Datepalm17, Dave420, David Underdown, David Warner, David1010, De728631, Deadeasy, Deathbunny, Deb, DeciusAemilius, Degen Earthfast, Dennis Bratland, Descendall, Dewritech, Difool, Dimension31, Dinkytown, Diomedea Exulans, Dionysiaca, Directorstratton, Discospinster, Dispenser, DocWatson42, Docu, Dogaroon, Donkeymon, Dorsetpatriot, Douglas the Comeback Kid, Download, Dr. Blofeld, Dr.K., Dratman, Drbogdan, DreamGuy, Drmies, Drono, Dumoren, Duncancumming, E-Dogg, ESkog, Earthlyreason, Eban Brown, Edton, Edward, Elvicendecun, Emerson54, Emerson7, Emloo, Enaidmawr, Epiccorrections, Epochbb, Error, Esrever, EurekaLott, Everything Else Is Taken, Exile, ExtraordinaryMan, FLJuJitsu, Facembanorth, Factuarius, FastLizard4, Fastilysock, Father Goose, Fergananim, FeydHuxtable, FinFangFoom, Fireworks, Fladrif, FlieGerFaUstMe262, Florabunda522, Francis Tyers, Francisgabriel1909, Francish7, Freakofnurture, FreeMorpheme, Ga1lyons, Gaff, Gaia Octavia Agrippa, Gavatron, Genie, Geoffhodgson, GertBell, Gilo1969, Goochelaar, Goodgye, GorgeCustersSabre, Graham87, Granpuff, Green Tentacle, Greenshed, Gregyankey, Gross1952, Grstain, Grunge6910, Gryphonis, Gsherrow, Gtwkndhpqu, Gwern, H-stt, Haburchalil, Haiduc, Hajor, Hamiltondaniel, Harold f, Harrison49, Harryboyles, Hattrem, Henri1958, Herve Reex, Hodgdon's secret garden, Hunterd, Hyacinth, Hywelford, I love that, IJA, Iammaxus, Ian Dunster, Ian.thomson, Igno2, Indon, Iph, Ironcladoz, Ironphoenix, Isnow, IstvanWolf, J JMesserly, J.delanoy, Jaan, Jabajabajohn, Jack1956, JackofOz, Jad Baaklini, Jagatai, Jaguara, Jamyskis, Janejellyroll, Janggeom, January, Jaraalbe, Jason Hughes, Jason M, JasonAQuest, Jauhienij, Jbarta, Jdmevans, Jeff3000, Jeffq, Jerzy, JewishAngle2013, Jiang, Jjlong7, Jm woltjen, Jmcc150, JoDonHo, JoJan, Joe MiGo, John, John of Reading, JohnCrocker, Jonasaurus, Jonathan.s.kt, Jonneroo, Jooler, Joseph Solis in Australia, Joshdboz, Jpbowen, Jrastro, Jschwa1, Julianp, Kakalbo123, KazakhPol, Kbdank71, Kernel Saunters, Khalid Mahmood, Kibiusa, King Lopez, Kingfish, Kizor, Kjaer, Klemen Kocjancic, Kliph, Konstable, Koyaanis Qatsi, Kross, Kswishz, Kumioko (renamed), Kungming2, Kuru, Kwamikagami, LDH, LFevas, LarRan, Le baron, Le grand Cricri, Leandrod, Leighpatterson1, Lepidus Magnus, LilHelpa, Lisiate, Ljhliesl, Local yokel, Logan, Logologist, Lukayulei, Lunarian, Lvangundy, Lyrric, MBK004, MER-C, MKoltnow, ML, Machenphile, Magickallwiz, Majorly, Mandel, Manfred2, Mani1, Mapetite526, MarcoTolo, Markus.koechling, MarnetteD, Matthew Woodcraft, Matthewcgirling, Mattstan, Mauls, Maurog, Mav, Mavigogun, McMuff, Mckinley99, Melesse, Mentifisto, Mervyn, Michael Drew, 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Brown, ACLogan07, Aardvarkzz, AbsoluteGleek92, Aditya2k, Adraeus, Ahoerstemeier, Ajpisharodi, Alamandrax, Alan Canon, Alansohn, AlbertSM, Ale jrb, Alientraveller, Alkivar, AllenbysEyes, AllyUnion, Alvareo, Amyzex, Anastrophe, AndrewOne, Andrzejbanas, Antiuser, Antovolk, Apau98, Archibald Heatherington Nastiface, Arthur Holland, Artihcus022, Asabbagh, Ashley Pomeroy, Asparagus, Astatine-210, AuhsojSivart, Axeman89, Balliol, Bantosh, Barneca, Bbb23, Bchaosf, Beatlebug101, Before My Ken, Betty Logan, BiT, Binabik80, Black Falcon, Blethering Scot, Bobblewik, Bobo192, Bodnotbod, Borowskki, Bovineboy2008, Brentmuk, Brookesward, Bryan Derksen, Burglekutt, Bzuk, CWenger, Cal Poly Pomona Engineer, Campaigner80, Captainclegg, Carolsmitthy, Cburnett, Cfolz88, Chad44, Charles Gaudette, Choess, Chris Capoccia, Chris the speller, Clarityfiend, ClaudeMuncey, Closedmouth, Cmh, Cmichael, Colonies Chris, CommonsDelinker, Cop 663, Csantas, Ctbolt, D6, DAFMM, DO'Neil, DQuinn38, Dabbler, Dabomb87, Dallasphil, Danbloch, Darklilac, Davhorn, David Gerard, Dbromage, Dcfleck, DeLarge, Deanlaw, DennisDallas, Deor, Derbent 5000, Deveraux32, Discospinster, DonJuan.EXE, DonPevsner, Donmike10, Donteatyellowsnow, Dr. Blofeld, DragonHawk, Duiarmia, ERJANIK, EchetusXe, Edward, Ekki01, El C, Eleazar, Emloo, Emma woodhouse, Engineer1234, Enigmaman, Erik, ErratumMan, Error, Estrose, Ettrig, Everything Else Is Taken, ExtraordinaryMan, FMAFan1990, Faradayplank, FayssalF, Film072, FlyingPenguins, Foofbun, Fredrik, Freshh, Fyrael, GARS, Gaius Cornelius, Gamaliel, Gavatron, GeoWPC, Ghj-AA4, Gilliam, Girolamo Savonarola, Globuel, Gothicfilm, Goustien, Graham87, Granpuff, Greg jinkerson, Greggreggreg, Guidebookdave, GusF, Harsh 2580, Headbomb, Heron, Hiphats, Hotcrocodile, Huysman, Ian Dunster, ImperatorExercitus, IncognitoErgoSum, Incoherent fool, Incropera, Inurhead, Isopropyl, IstvanWolf, Itxia, J 1982, J.delanoy, J1111111m, JGKlein, JSydel, JaGa, Jack Greenmaven, Jack1956, JackofOz, Jake Wartenberg, Japanese Searobin, Javert, Jedi94, Jello-22, Jg2904, Jiang, Jigsaw, Jihg, Jim10701, Jimpoz, Jmcc150, JoeLoeb, Joey80, Jogers, John J. 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File:Te lawrence.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Te_lawrence.jpg License: Public Domain Contributors: Yourfriend1, 2 anonymous edits File:Flag of the United Kingdom.svg Source: http://en.wikipedia.org/w/index.php?title=File:Flag_of_the_United_Kingdom.svg License: Public Domain Contributors: Anomie, Good Olfactory, Mifter File:Flag of the British Army.svg Source: http://en.wikipedia.org/w/index.php?title=File:Flag_of_the_British_Army.svg License: Creative Commons Attribution 2.5 Contributors: Philip Ronan File:Ensign of the Royal Air Force.svg Source: http://en.wikipedia.org/w/index.php?title=File:Ensign_of_the_Royal_Air_Force.svg License: Public Domain Contributors: User: David Newton File:Thomas Edward Lawrence birth-place Gorphwysfa.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Thomas_Edward_Lawrence_birth-place_Gorphwysfa.jpg License: GNU Free Documentation License Contributors: Lepidus Magnus Original uploader was Lepidus Magnus at en.wikipedia File:Lawrence arabia.gif Source: http://en.wikipedia.org/w/index.php?title=File:Lawrence_arabia.gif License: Creative Commons Attribution-Sharealike 3.0 Contributors: Stephanie (Oxford) (talk) File:Woolley & Lawrence at Carchemish.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Woolley_&_Lawrence_at_Carchemish.jpg License: Public Domain Contributors: 81BOB, Hanay, Marcus Cyron File:Leonard Woolley (right) and T.E.Lawrence at the British Museum's Excavations at Carchemish, Syria, in the spring of 1913.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Leonard_Woolley_(right)_and_T.E.Lawrence_at_the_British_Museum's_Excavations_at_Carchemish,_Syria,_in_the_spring_of_1913.jpg License: Public Domain Contributors: Hanay, M.chohan, Roland zh, Sumerophile, . File:Ljidda.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Ljidda.jpg License: Public Domain Contributors: Konstable File:Lcamel.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Lcamel.jpg License: Public Domain Contributors: Konstable File:T.E.Lawrence, the mystery man of Arabia.jpg Source: http://en.wikipedia.org/w/index.php?title=File:T.E.Lawrence,_the_mystery_man_of_Arabia.jpg License: Public Domain Contributors: Lowell Thomas (photographer) File:FeisalPartyAtVersaillesCopy.jpg Source: http://en.wikipedia.org/w/index.php?title=File:FeisalPartyAtVersaillesCopy.jpg License: Public Domain Contributors: User:Bloody-libu File:Samuelarrival.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Samuelarrival.jpg License: unknown Contributors: American Colony (Jerusalem). Photo Dept., photographer. File:Brough Superior of T.E. Lawrence.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Brough_Superior_of_T.E._Lawrence.jpg License: Creative Commons Attribution-Sharealike 3.0,2.5,2.0,1.0 Contributors: Joe MiGo File:TE Lawrence fatal motorcycle crash memorial tree.png Source: http://en.wikipedia.org/w/index.php?title=File:TE_Lawrence_fatal_motorcycle_crash_memorial_tree.png License: Creative Commons Attribution-Sharealike 3.0 Contributors: Magickallwiz File:Lawrence of Arabia Brough Superior gif.gif Source: http://en.wikipedia.org/w/index.php?title=File:Lawrence_of_Arabia_Brough_Superior_gif.gif License: Public Domain Contributors: Amux, Huggorm, 1 anonymous edits File:Thomas Edward Lawrence-London Barton St.JPG Source: http://en.wikipedia.org/w/index.php?title=File:Thomas_Edward_Lawrence-London_Barton_St.JPG License: Public Domain Contributors: Original uploader was Bashereyre at en.wikipedia File:Ljohn.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Ljohn.jpg License: Public Domain Contributors: Konstable, Man vyi File:Lawrence Bust in St. Paul.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Lawrence_Bust_in_St._Paul.jpg License: Public Domain Contributors: Ignasi File:Peter OToole in Lawrence of Arabia.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Peter_OToole_in_Lawrence_of_Arabia.jpg License: Public Domain Contributors: Trailer screenshot Original uploader was Gavatron at en.wikipedia File:Pabellon Mudejar.JPG Source: http://en.wikipedia.org/w/index.php?title=File:Pabellon_Mudejar.JPG License: Creative Commons Attribution-Sharealike 3.0,2.5,2.0,1.0 Contributors: Grez File:Espagne Sville Place d'Espagne.JPG Source: http://en.wikipedia.org/w/index.php?title=File:Espagne_Sville_Place_d'Espagne.JPG License: Creative Commons Attribution 3.0 Contributors: Gregory Zeier

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