--- title: "Lawrence of Arabia" year: 1962 kind: "film" canonical: "https://film.one/film/lawrence-of-arabia" fi1m_id: "lawrence-of-arabia" imdb_id: "tt0056172" tmdb_id: 947 wikidata_id: "Q228186" fi1m_score: 90 critics_score: 86 critics_reviews: 8 published: "2026-09-12" updated: "2026-09-18T08:38:03.899619+00:00" region: "US" licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL." --- # Lawrence of Arabia (1962) Directed by David Lean · 3h 48m · MPA PG · Adventure, History, War ## Identity Lawrence of Arabia - **Canonical:** https://film.one/film/lawrence-of-arabia - **Type:** Film - **Fi1m ID:** lawrence-of-arabia - **IMDb ID:** tt0056172 - **TMDB ID:** 947 - **Wikidata ID:** Q228186 - **Same entity:** https://www.imdb.com/title/tt0056172/, https://www.themoviedb.org/movie/947, https://www.wikidata.org/wiki/Q228186 **Fi1m score: 90** · Critics 86 from 8 reviews *In a sentence:* Omar Sharif arrives so slowly that most films would have started apologising > David Lean’s desert adventure earns its length through Peter O’Toole’s unsettling performance and an extraordinary command of scale. A few speeches explain too much, but we recommend surrendering an evening to its patience and nerve. ## Synopsis T.E. Lawrence (Peter O’Toole) is an unconventional figure in a war story shaped by ambition, patriotism and a fascination with the desert. His story brings him into the company of Prince Feisal (Alec Guinness), Sherif Ali (Omar Sharif) and Auda abu Tayi (Anthony Quinn), with military and political interests surrounding them. Lawrence’s personality receives as much attention as the adventure, as questions of leadership and morality accompany his exploits. David Lean directs from a screenplay by Robert Bolt and Michael Wilson, with Jack Hawkins as General Allenby and Claude Rains as Mr. Dryden. ## Review David Lean gives *Lawrence of Arabia* 228 minutes, and we would not ask for many of them back. It earns that time through Freddie Young’s patient desert photography and Peter O’Toole’s disquieting performance as T.E. Lawrence. Lean is making a war adventure with an unusually awkward man at its centre, and he lets that awkwardness persist. We are not asked to settle on a comfortable explanation of Lawrence before the next stretch of desert. O’Toole makes Lawrence’s strangeness conspicuous, and there are moments when the performance threatens to become too much. Yet the flamboyance keeps the character from settling into the usual capable adventurer, simply doing what the story requires. We remain interested in what Lawrence thinks of himself, partly because O’Toole makes that opinion seem changeable. Robert Bolt and Michael Wilson’s screenplay gives him room for those contradictions, particularly when its satire of imperial attitudes makes the supposedly sensible people look no more reliable. Young’s desert photography gives Lean a practical way to make human confidence look fragile. In the introduction of Omar Sharif’s Sherif Ali, an approaching figure occupies a distant point on the horizon, and the distance itself holds our attention. We were transfixed by that approach; the film gives us so little to look at and makes us look so hard. Young lets the breadth of the image do the work, while Anne V. Coates’s editing allows the arrival to take its time. The scene establishes a presence before there is much opportunity for explanation. Sharif is particularly valuable because his performance does not depend on matching O’Toole’s flamboyance. We can understand why the camera is interested in him before the screenplay has much to explain. Alongside Alec Guinness as Prince Feisal and Anthony Quinn as Auda abu Tayi, he helps make the story feel populated by more than witnesses to Lawrence. Even when the dialogue becomes formal, the actors keep us attentive to who is doing the speaking. John Box’s production design gives the historical drama sufficient physical weight to stand alongside the desert photography. The settings feel substantial, and that solidity helps when the dialogue threatens to turn people into representatives of a position. Lean also allows the adventure to wait while we attend to a personality or take in a distance. Coates is essential to that patience: the approach across the horizon would lose much of its force if the editing seemed anxious to get Sharif introduced and move along. Maurice Jarre’s score sustains the film’s scale, and its force is often a pleasure in itself. There are passages, though, when it presses an emotion that Young’s images have already conveyed. The same tendency affects Bolt and Wilson’s more explanatory writing, which can make a complicated man briefly sound like a subject under discussion. We would trust the performance and the landscape a little more, and the explanations a little less. These interruptions are noticeable because so much elsewhere is communicated without insistence. At 228 minutes, this asks for a cleared evening and a willingness to wait. We recommend giving it both, with the caveat that its dialogue and music occasionally tell us more than they need to. Choose the largest screen available; Sharif’s entrance deserves more than a squint. *Fi1m score 90, published 12 September 2026.* ## What the critics say Most critics respond warmly to Lawrence of Arabia, with praise clustering around David Lean’s direction, the desert photography and Peter O’Toole’s central performance. The reviews repeatedly describe a film whose scale serves an unusually personal story, giving Lawrence’s contradictions as much attention as the adventure. Freddie Young’s cinematography draws particular admiration for conveying the desert’s vastness and fascination, while O’Toole is praised for making an unconventional, elusive figure compelling across the long running time. Reservations centre on pace and how fully the script explains Lawrence. For most critics, occasional sluggishness does little to diminish the achievement, but Sight and Sound finds the storytelling episodic, the character insufficiently understood and the score intrusive. Its complaint about conventional scripting contrasts with Radio Times’ praise for the screenplay’s satire of imperial attitudes. The spread is largely enthusiastic, with the sharper dissent questioning the writing rather than the visual craft. ## Straight answers **Is Lawrence of Arabia worth watching?** *Lawrence of Arabia* is worth watching for anyone prepared to clear a full evening for it, and we scored it 90. Peter O'Toole's disquieting performance and Freddie Young's desert photography earn most of the 228 minutes, though the dialogue and Maurice Jarre's score occasionally explain what the images have already shown. See it on the largest screen you can. **How long is Lawrence of Arabia, and what is it rated?** *Lawrence of Arabia* runs 3h 48m and is rated PG by the MPA in the US. It is an adventure and history film. **Where can I watch Lawrence of Arabia in the US?** *Lawrence of Arabia* is streaming on Netflix in the US, and it is also available to rent from Amazon Prime Video from $3.99. Availability is checked daily; the links above go straight to each service. **How violent or frightening is Lawrence of Arabia, and is it suitable for children?** *Lawrence of Arabia* is a PG-certificate war adventure, so its violence is restrained by the standards of the genre and there is little to frighten. The barrier for children is length and pace rather than content: 228 minutes of patient desert, long silences and formal political talk will test younger viewers far more than anything on screen. **How does Lawrence of Arabia compare to The Bridge on the River Kwai?** *Lawrence of Arabia* is the grander of David Lean's two war films, and [*The Bridge on the River Kwai*](https://film.one/film/the-bridge-on-the-river-kwai) the tighter. Both study a proud military man whose sense of duty drifts into obsession, but Kwai builds its suspense around a single project while Lawrence spreads across the desert and lingers on a stranger, more flamboyant personality. Choose Kwai for a contained drama, Lawrence for scale and patience. **What should I watch after Lawrence of Arabia?** After *Lawrence of Arabia*, try [*The Bridge on the River Kwai*](https://film.one/film/the-bridge-on-the-river-kwai) (1957, Fi1m 88): Another test of military pride, with duty becoming difficult to distinguish from obsession. Then [*Aguirre, the Wrath of God*](https://film.one/film/aguirre-the-wrath-of-god) (1972, Fi1m 91): A much harsher expedition, driven by a leader increasingly convinced of his destiny; and [*The Battle of Algiers*](https://film.one/film/the-battle-of-algiers) (1966, Fi1m 93): Colonial power and resistance examined through crowds, streets and the mechanics of violence. ### Reviews we read (11) - **Radio Times**, Adrian Turner (5/5): Lean’s magisterial epic offers a complex portrait of T.E. Lawrence through O’Toole’s flamboyant performance and a script that satirizes imperial attitudes. It features awe-inspiring desert imagery and stands as grand-scale movie-making at its finest. [Read](https://www.radiotimes.com/movie-guide/b-h6yveb/lawrence-of-arabia/) - **RogerEbert.com**, Roger Ebert (4/4): Praises the bold imaginative vision behind the epic, particularly Lean's ability to convey the desert's vastness through iconic imagery like the approaching figure on the horizon. Highlights the film's focus on Lawrence's quirky, unconventional personality over conventional action or biography. [Read](https://rogerebert.com/reviews/great-movie-lawrence-of-arabia-1962) - **The New Yorker**, Brendan Gill (85/100, inferred): Calls the long, ambitious film a near-success that avoids boredom through strong contributions from its writer, designers, composer, cinematographer, and especially director David Lean. Singles out the exquisite desert camerawork and passionate direction for praise while noting the candid handling of Lawrence's personal peculiarities. [Read](https://www.newyorker.com/magazine/1962/12/22/the-flawed-hero) - **Time Out**, Dave Calhoun (4/5): Lean’s 1962 epic stands as the gold standard for grand-scale cinema, with its sweeping desert vistas and compelling central performance by O’Toole remaining highlights. The digital restoration makes it essential viewing on the big screen despite its length. [Read](https://www.timeout.com/movies/lawrence-of-arabia) - **Variety**, Variety Staff (80/100, inferred): Hails the film as a big, bold, smash-hit epic with sweeping production values, superb Technicolor and Panavision photography, and strong direction by Lean. Praises Peter O'Toole's striking lead performance and the overall spectacle while noting minor issues like occasional sluggishness. [Read](https://variety.com/1962/film/reviews/lawrence-of-arabia-2-1200420236/) - **Sight and Sound**, Penelope Houston (60/100, inferred): The film is an ambitious but episodic epic that struggles to fully capture its enigmatic central character despite strong production values. It excels in conveying the fascination of the desert through striking visuals and some fine performances, but is let down by an intrusive score and overly conventional scripting. [Read](https://www.bfi.org.uk/sight-and-sound/reviews/lawrence-arabia-archive-review-hazy-draw-desert) - **Empire**, Angie Errigo: The critic praises David Lean's mythic blockbuster as both a stunning epic and a sensitive portrait of T.E. Lawrence, highlighting its combination of exhilarating adventure and intensely personal human story set against a spectacular backdrop. She singles out the film's action artistry, iconic performances especially Peter O'Toole's, and memorable sequences like the mirage introduction of Omar Sharif's character for particular admiration. [Read](https://www.empireonline.com/movies/reviews/empire-essay-lawrence-arabia-review/) - **The Guardian**, Philip French: The critic calls Lean's film a stately masterpiece and one of the last intelligent epics, urging viewers to see the restored 70mm version in a cinema for its full impact. He singles out Freddie Young's unforgettable desert cinematography for particular praise. [Read](https://www.theguardian.com/film/2012/nov/25/lawrence-of-arabia-review) - **Collider**, Liam Gaughan (A+): The critic finds the film straightforward, enthralling, and deeply moving in its examination of morality and patriotism. Its spectacle and visuals remain powerful and unrivaled despite the age of the production. [Read](https://collider.com/lawrence-of-arabia-review/) - **Digital Spy**, Simon Reynolds (90/100, inferred): The critic hails it as one of cinema's great epics and David Lean's masterpiece, praising the breathtaking desert visuals and Peter O'Toole's charismatic, kooky performance as the highlight. [Read](https://www.digitalspy.com/movies/bfi-london-film-festival/a410928/lawrence-of-arabia-4k-restoration-review-london-film-festival-2012/) - **Eye for Film**, Angus Wolfe Murray: The critic highlights the enduring scale, scope, sublime cinematography by Freddie Young, the desert's beauty, and Peter O'Toole's deep, contradictory characterization as T.E. Lawrence. It is presented as an unforgettable epic that broke Hollywood rules while treating its subject seriously. [Read](https://www.eyeforfilm.co.uk/review/lawrence-of-arabia-film-review-by-angus-wolfe-murray) ## Details - **Director:** David Lean - **Director:** David Lean - **Screenplay:** Michael Wilson, Robert Bolt - **Cinematography:** Freddie Young - **Editor:** Anne V. Coates - **Music:** Maurice Jarre - **Production design:** John Box - **Costume design:** Phyllis Dalton, John Wilson-Apperson - **Producer:** Sam Spiegel - **Cast:** Peter O'Toole as T.E. Lawrence; Alec Guinness as Prince Feisal; Omar Sharif as Sherif Ali; Anthony Quinn as Auda abu Tayi; Jack Hawkins as General Allenby; José Ferrer as Turkish Bey; Anthony Quayle as Colonel Harry Brighton; Claude Rains as Mr. Dryden - **Runtime:** 3h 48m - **Certificate (MPA):** PG - **Release (the US):** 16 December 1962 - **Genres:** Adventure, History, War - **Also in:** [Best Picture winners](https://film.one/collections/oscar-best-picture.md) (Winner, 1962); [BAFTA Best Film winners](https://film.one/collections/bafta-best-film.md) (Winner, 1962); [Golden Globe Best Drama winners](https://film.one/collections/golden-globe-drama.md) (Winner, 1962); [The classics, without the homework](https://film.one/collections/classics-without-the-homework.md) - **Budget:** $15 million - **Box office:** $70 million - **Trailer:** https://www.youtube.com/watch?v=i0IzV1q9g9Q ## Where to watch in the US - Netflix: streaming - Amazon Prime Video: rent $3.99, hd - Amazon Prime Video: buy $14.99, hd *Checked 2026-09-12.* Also available in: AR, AT, AU, BG, BR, CL, CO, CZ, EC, HK, HR, HU, ID, IL, IS, JP, MX, MY, PA, PE, PH, PL, RO, RS, SG, SI, SK, TH, TR, US, VN. Add `?region=XX` to this URL for another country. ## Awards - Silver nugget for the best foreign film 1964: Silver nugget for the best foreign film (won) - Academy Awards 1963: Best Actor (nominated); Best Supporting Actor (nominated); Best Writing, Adapted Screenplay (nominated); Best Art Direction, Color (won); Best Cinematography, Color (won); Best Director (won); Best Film Editing (won); Best Original Score (won); Best Picture (won); Best Sound (won) ## If you liked this - *The Bridge on the River Kwai* (1957), Fi1m 88: Another test of military pride, with duty becoming difficult to distinguish from obsession. — [Fi1m page](https://film.one/film/the-bridge-on-the-river-kwai.md) - *Aguirre, the Wrath of God* (1972), Fi1m 91: A much harsher expedition, driven by a leader increasingly convinced of his destiny. — [Fi1m page](https://film.one/film/aguirre-the-wrath-of-god.md) - *The Battle of Algiers* (1966), Fi1m 93: Colonial power and resistance examined through crowds, streets and the mechanics of violence. — [Fi1m page](https://film.one/film/the-battle-of-algiers.md) - *The Last Emperor* (1987), Fi1m 80: Grand historical filmmaking that keeps returning to the restrictions surrounding one conspicuous man. — [Fi1m page](https://film.one/film/the-last-emperor.md) - *Embrace of the Serpent* (2015), Fi1m 82: An Amazonian journey that gives European explorers considerably less control of the story. — [Fi1m page](https://film.one/film/embrace-of-the-serpent.md) --- © Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/lawrence-of-arabia