Date: 2012-03-07 05:33 am (UTC)
selenak: (Default)
From: [personal profile] selenak
It's interesting that you mention Lawrence of Arabia. I agree with you completely on the Auda scene, and why it works. But the film also contains one of the darkest twists on the hero refuses/is persuaded by Captain Exposition principle I can think of later on: when Lawrence wants to quit post Deraa and having been raped, and Allenby persuades him to go back. Firstly, for all the audience knows, the refusal could be genuine because this happens two thirds in with a long movie (so an unspoiled audience, especially one not aware Damaskus is still due, could assume the film will wrap up soon - the normal film running time has been reached), and moroever, it's emotionally understandable at this point. Secondly, and that's what I mean about the dark twist, within the narrative of the film Lawrence going back turns out to have been the wrong decision. He goes from bad psychological shape to worse, his friendship with Ali falls apart, instead of the previous success-against-the-odds plot points, we get a massacre, and after Damaskus has finally been reached, the stated goal of a free Arabia falls apart in a mixture of inner Arabic squabbling and European imperialism, and Lawrence goes back to a world that's no more his than the one he leaves.

In conclusion, Robert Bolt was a cynical British dramatist instead of a Hollywood scriptwriter.:)
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