Over this past two weeks, while sitting on the beach here in Cannes, I read “The Looming Tower – Al Queda and the Road to 9/11,” an excellent and absorbing, Pulitzer Prize winning book by Lawrence Wright.

9/11

Wright traces the rise of Arab fundamentalism, its use of terror and, in particular, supplies a detailed account of the origins of Al Qaeda and its founder – Osama bin Laden. It’s a fascinating story of murder, torture, ironic failure and of a man who comes from wealth but has put all aside in his obsession with Islamic fundamentalism paired with a profound hatred of the United States and all he thinks it represents.

In broad strokes, nothing new for most of us; but this book stands out for its exceptional writing as well as providing the details surrounding a movement that impacts virtually everybody in the western world.

Bin Laden, the son of a very wealthy and prominent Saudi builder and contractor has, according to Wright, often criticized many of his super-rich, former countryman (bin Laden las been deprived of his Saudi Arabian passport and thus is, presumably, stateless) for their extravagance and excess which is often expressed in the casino at Monte Carlo and the shops of Cannes. The cote d’azure is a magnet for those who wish to indulge and the fabled coast is not very far a jaunt for the luxury yachts of the Saudi princes.

State of the Art Yachts

So, having read this book, and then one week later finding myself lunching at Le Grill, atop the storied Hotel de Paris in Monte Carlo, followed by a visit to this very same casino, I thought – hmm, should I be prudent and, sort of, at least, be on the lookout for suspicious loners among the throngs of tourists milling about the Casino Square as well as inside and on the steps of the casino itself?

I will never forget being in Jerusalem in the spring of 1995; when in the company of a potential Israeli co-producer one balmy evening, we decided, after dinner, to search out an agreeable spot for a dessert and coffee. We headed down one narrow street to a recommended café – but, my friend stopped as we approached it and suggested we go elsewhere (because it was too crowded; not too full, but too crowded). That has been the only time that the ugly truth of suicide bombings directly impinged upon my consciousness and not much of an impingement, at that!

The very next morning I was actually abducted by a huge Arab man and his son, but that, truly, is another story. (see post titled “Movie”)

Streets in Old Jerusalem

However, how would we react if the “mad mullahs,” as one writer has described them, took over our lives? I know that I would not like it one bit! Would I, personally, go so far as a suicide mission to express this fundamental disagreement? Unlikely, at my age, or maybe at any age for that matter – but, we all know that as a free society, very many of us would begin a quite serious rebellion. In the final analysis though, I have come to realize that we are all pawns in the great game of History where things, both ugly and beautiful, just ebb and flow with repetition being the essential and driving ingredient.

As Wright points out in “The Looming Tower,” much of to-day’s unrest in the middle east began in 1916 with the secret Sykes-Picot Agreement wherein France and Britain dismember the Arab lands for themselves in true colonial fashion.

Arabia in 1916 is the landscape both geographically and historically for one of the great films of all time – the 70 mm masterpiece “Lawrence of Arabia” directed by David Lean and starring, in his first movie role, the very young and dashing Peter O’Toole.

Movie Review:

Lawrence of Arabia

Directed by David Lean, Produced by Sam Spiegel, and Starring Peter O’ Toole, Omar Sharif, Alec Guinness, and Jack Hawkins — Columbia Pictures 1962

Rated consistently as one of the top five films ever to have been made, “Lawrence of Arabia” owes its distinction to a happy confluence of many elements – a distinguished cast, an incisive and nuanced script, stirring as well as enduring music, a great director and a stunningly beautiful locale photographed virtually perfectly by a super cinematographer.

And this motion picture was allowed to be shot on location in the hostile and forbidding deserts of Jordan and the middle east through the medium of 70mm film – the last motion picture to do so. The producer, Sam Spiegel, was not known for his appreciation of “art” in particular – in fact, my personal knowledge of him did not extend beyond that of a fat-bellied, cigar chomping caricature of the rude, pretty-girl grabbing, Hollywood producer.

But his producing credits include “On the Waterfront,” “Bridge on the River Kwai,” “Dr. Zhivago” and, of course, “Lawrence of Arabia.”

You can easily imagine what would drive a director to lug these huge and intricate cameras into such heat and sand utterly destined to inflict a myriad of delays, breakdowns and misfortunes onto the production but what would convince a producer best known for his carnal appetites to agree to such obvious folly.

I can only imagine that he bought into David Lean’s vision which is said to have evolved from his imagining of the great “mirage” shot where Omar Sharif, in his first western role, rides on a camel – out of infinity, into a medium close-up shot. This piece of cinema is generally thought to be one of the great “shots” of all time. David Lean’s Arabia is magical, exotic, dangerous and extraordinarily beautiful! In any event, the last 70mm film (shot on original 70mm negative; not shot on 35mm and not later “blown up” to 70mm) to be made was done so under these extraordinary and difficult circumstances – and under the financial aegis of Sam Spiegel. When I met him, I obviously got him wrong; very wrong!

As Omar Sharif said, how could a movie as expensive as this be made; almost four hours long, no women in the cast, an unknown in the lead, no love story, not much action and a supporting cast of non-stars!

“Lawrence of Arabia” is David Lean’s masterpiece! Everything is real and true – no digital effects to somehow numb the senses. The stars were on their camels even for the extreme wide and long shots – Lean thought it important for the purposes of verisimilitude! The costumes were authentic; all made or purchased in Jordan and Syria.

David Lean was quoted as saying “I just love making movies!” The charge into the seaport of Aquaba from its rear had both Anthony Quinn and Omar Sharif wondering about this statement as, without stunt doubles, they rode into Aquaba on their horses and camels respectively at the head of a wild charge with literally hundreds of horsemen behind them – all going at breakneck speed. Mr Sharif reportedly thought “ What if one of us falls; will we be trampled to death?”

Well, Peter O’Toole did fall and his camel – either magically or normally – stood atop him while the thundering mass split around him!

In my view, Peter O’Toole is a quirky actor at best, but here he outdoes himself and gives the performance of a lifetime. Ironically, at one point in this magnificent film General Allenby (played by Jack Hawkins) tells Lawrence that after the war, his (Allenby’s) name will only be found in the War Museum while his (Lawrence’s) will be a household word. This turned out to be quite accurate with the added truism that Col. E. T. Lawrence would be a household word indelibly linked to the beautiful visage of Peter O’Toole!

“Lawrence of Arabia” is a stunning piece of cinematic entertainment – magical, desert vistas filled with exotic peoples dressed as in biblical times playing out a story of freedom won and lost while being led by a mystical Englishmen whose love affair with the desert and its tribes is played out in spiritual and mystical terms.

Prince Faisal, early in the film, says to Lawrence: “the English have a great hunger for desolate places.” And so true it proves to be as the secret Sykes-Picot Agreement of 1916 negates Lawrence’s and the British promise of a free Arabia in return for Arab assistance in fighting the Turkish Empire during WW #1. This “treaty”, with that peculiar arrogance seemingly reserved for colonial powers, carved out for Britain and France the Arab lands including a provision for an independent Jewish State in Palestine! .

The Seeds of Betrayal

It is generally agreed that the Sykes-Picot arrangement of 1916 was the turning point in Western-Arab relations. As an aside, it has been suggested that the devastating IED (improvised explosive device) used to such terrible effect by the insurgents in Iraq was invented by Colonel Lawrence and its construction and use demonstrated to the Arabs during the uprisings depicted in this magnificent film!

So, is it here with Lawrence of Arabia that the current mess can be traced to its roots?

But, are grand vistas of exotic locales gorgeously photographed in 70mm by Freddie Young along with a brilliant script by Robert Bolt plus stirring and lasting music from Maurice Jarre enough to make “Lawrence of Arabia” the great film it is?

Epic films such as this had their day – complete with intermissions and overtures. Most show their age. Not “Lawrence of Arabia!”

The story of Lawrence is captivating – addressing the universal theme of “who am I?” Lawrence is asked who he is many times throughout the movie. He doesn’t know! And neither do we! Once again we are presented with a great romantic spectacle, laboriously fashioned by singular artists and craftsmen, based upon true events that has as its hero a true “knight errant” who is following a mythical dream only to have it succeed gloriously and to fail miserably.

“Lawrence of Arabia” is a slice of life writ very, very large.

And, by the way, the new special edition DVD (digitally remastered) is magnificent. And soon, there will be a blu-ray edition.

One version or the other belongs in everyone’s library, I think!