Joker

No my friends, I did not fall off the face of the Earth, although there have been some days when I wish I had. In the month since I last posted, my world has been one of great ups and horrible downs, and I'm not going to go into that in detail. Just suffice to say that my perspective on this film might be influenced at times by my own emotional jumping jacks, so this will be a first pass at a written review. I will probably come back and re-evaluate the movie when my head is clearer and it is awards time. I am pretty certain this film will be up for a number of end of year accolades. the question is, should it be?

The first teaser trailer for this movie doesn't really tell any of the story or give you much context, all it really does is tell you that this movie will be different, and brother is it. This is a grueling examination of a man's mental collapse and the consequences to the rest of us when such obvious problems go unaddressed. It is also easy to sympathize with the main character up to a point. He is down trodden but still game, he lives a fantasy with his mother that all is well, and some moments he appears to be warm and tender. That however is the point of the movie, appearances are deceiving but pain will not be fooled, it will win out in the end and woe to those in the way when it happens.  I have seen some political chatter on this film, suggesting it is an apology for one group of fanatics while at the same time inciting another group of fanatics. I don't see either of those as credible evaluations of what the film presents. Only in the tortured machinations of some deconstructivist social thinker can those points make much sense.  The social failures in Arthur Fleck's life are too numerous and diverse to lay blame on a political foundation. By the time the story is finished, you will be horrified by what happens, not inspired to act out, or, you will be frustrated by storytelling that takes advantage of the Batman/Joker trope that the Joker always lies.

The performance of Joaquin Phoenix in the lead will be one of the safest points to make comment on. His acting is effectively tortured and creepy in the right spots, but he also manages to beguile us on occasion as a misunderstood outsider who has simply run into a number of difficulties that have warped him. Physically, as other actors before him have done, he transforms his body into an emaciated skeleton with angles and crevices that are disturbing to think about. His vocal performance is calm, despite the condition he has that results in uncontrollable laughter at inappropriate times. His interviews with the social worker are all controlled rage while seemingly subdued on the outside, Once his full transformation is achieved, the part is much more standard. Of course standard Joker would mean over the top behavior and Phoenix manages that as well.

Assuming one half of the story we are given is true, and that is a big assumption, it seems improbable at best. Maybe Gotham City is a powder-keg waiting for a spark to ignite it, but we never see any of that. The resentment of the rich is a media transference from the status of the first people who feel  the evolution of Arthur. The earlier beat down he suffered had little to do with economic necessity or social inequity, rather it is just a typical moment of horror that we have seen on the news regularly for years. A random pedestrian cold cocks a man on the side of the head, and that man dies. On lookers participate. These days the participation might be recording the incident instead of intervening. It is still reprehensible. When Arthur is attacked the second time, we can root for him like Paul Kersey, it is an act of self defense. However, we see Arthur lose control, he is no vigilante at that point, he is a monster. The creation of a rich versus poor dichotomy in this vision of Gotham is the invention of media types, willing to exploit an opportunity.

The movie is brave in a way most commercial films are not. Todd Phillips and Scott Silver are not afraid to let us see the emptiness that Arthur faces on a regular basis. The world is concentrated gloom delivered in a visual style that is dark when it comes to the colors but lively when there are dramatic moments to play out. Phoenix dominates the scene most of the time but the peripheral characters are important as well. To me the most troubling aspect from the view of someone who might be a comic book aficionado is the portrayal of Thomas Wayne ans an indifferent corporate overlord. We get a completely unnecessary retelling of the events that propel young Bruce to his future, and I get the feeling it was only included to remind us of the universe this story is supposed to take place in. This is actually a second DC Comic based movie for actor Brett Cullen who plays Thomas Wayne. He was also the Congressman who gets taken for a ride by Catwoman in "The Dark Knight Rises".  The political aspects of the film are minor details to the main story which is the de-evolution of the protagonist.

I like most horror films, so I have a high tolerance for bad things happening to people. I don't care for torture material however and the length of this movie and the absence of any other perspective does make it seem a bit torturous to watch. If you find any humor in this experience, at best it will be of the morbid variety, and there will not be laughter but head shaking. Really, I feel as if I've seen a movie that is important, but I have a hard time explaining why. I think the film is compelling but it is repugnant at the same time. I wanted to praise it more than I can but I also want to damn it more than needed. Forget all the political/social justice baloney that people will try to cram down your throat, this is a film that can provoke a good discussion without mentioning ant party, issue, figure or cause. Maybe that is the best justification I can give you for seeing this, you want to know what you are talking about.

Breaking Away 40th Anniversary Screening Egyptian Theater: American Cinematique

It has been nine years since my original post on this film from the Summer of 1979. I'm sure that I have revisited this movie at least once in that time but not in a theater so it was not included in any post that I have done in the intervening decade. Since the original post was included in my "Movie A Day" project, it is heavy with personal remembrances and observations about the events in my life when I first saw the film. "Breaking Away" was a movie that was released at a pivotal time in my life and that is one reason I cherish it.

Other than my personal reflections however, there are a huge number of reasons to love this movie and they were all on display last night at the Egyptian Theater. The American Cinematique had wrangled up a large portion of the cast to come and talk to us about the film, and the stories they shared about their casting, acting and behind the scenes moments were fascinating. First however, a few notes about the movie itself.

For those of you who are not familiar with the film, let me give you a quick thumbnail infocluster to bring you up to speed. "Breaking Away" is a combination of "Rocky" and "Stand by Me", with a slightly older cast, no serious threat of violence, and bicycles instead of boxing gloves. It is a positive twist on the coming of age story, one where the family is strengthened by the events of the film rather than damaged by them. Dave, the enthusiastic cyclist played by Dennis Christopher, is a young man in search of himself, but somewhat blinded by his friendships with the high school buddies he hangs out with. His father despairs of him ever doing something with his life and is even more frustrated by the personae his son has adopted, as an Italian immigrant. Dave is not delusional or deranged, he is merely caught up in his idol worship of the Italian Cycling team from Cinzano. The fantasy feeds his own skills and determination when training and it offers a refuge from the uncertainty of the future.

Although his friends are a major component of the film, and they are listed as the lead characters of the movie, the real relationships that are the basis of what happens are those that Dave has with his parents. Oscar Nominated Barbara Barrie, is a supportive, patient and soothing rock that Dave can always feel as the foundation of his existence. We learned last night, that the critical scene where she shows Dave her Passport and dreams of the things it might represent to her and others, was largely improvised by the two actors. Her smile and demeanor, and the way she holds the passport up for him to see as she subtly suggests he take advantages of all the opportunities before him, is probably the moment that cinched her recognition by the Academy.

As great as Barbara Barrie is in the film, she is matched moment by moment by the actor Paul

Dooley playing Dave's exasperated father. Mr. Dooley was present last night for the screening. He sat in the row behind me and was there for half an hour at least before the movie began. One fan approached him in search of an autograph which he graciously provided. I am a long time resident of Southern California. Celebrity sightings are not uncommon and I have always tried to be polite and non-intrusive, but I have to admit his presence got the best of me last night. Instead of remaining detached and respectful of his space, I did approach him as I headed up to the lobby before the show, I offered my hand and a brief admiration of his performance. As I'm sure he has heard a thousand times before, I shared how his performance reminded me of my own father and he smiled and said that he modeled his role on his father. He mentioned that fact again in the conversation after the film with the whole audience, but for that moment, it felt like we were sharing a thought just between the two of us. I have always maintained that he was overlooked that year for acting honors and I hope that the good wishes of fans like me can compensate a bit for that oversight. In the movie he is gruff, romantic, sarcastic and ultimately the kind of father that all of us would love to have.

Mike, Cyril, and Moocher are the three friends that Dave has tied his fate to at the moment. The screenplay, which won the Academy Award that year, treats each of these characters in a complete way. Not all of their problems are solved at the end of the movie, but we know them better and they are on a clearer path than before the story unfolded. Dennis Quaid is the embittered Mike, a high school football star doomed to watch other young men achieve athletic success at the University while he fades away. Mike is not a sympathetic character for much of the film. He acts like a local bully as a way of retaining some sense of worth, and he demeans his friends when they suggest that they need to move on. Of the four young men, he needs to do the most maturing if his life is to get better.

Cyril and Moocher are less critical to the main events but they are essential to understand the relational dynamics going on. Cyril is the put upon, sad faced joker of the group. He is the Eeyore to Dave's Pooh. Daniel Stern, who has had a terrific career starring in comedies that most of us know well, was also present last night. He talked about his own casting, and how he really was not sure that he'd gotten the part. This was his first film and his enthusiasm was infectious. He and Dennis Christopher had to keep prompting one another on memories of shooting the film. Before he sat down, he proudly displayed the Cutters t-shirt he was wearing under his jacket. While there is certainly progress in the growing up of the kids in the story, as I said before, not everything is resolved. In the group celebration shot near the end of the movie, everyone has someone to celebrate with except Cyril, who still looks lost despite the accomplishment of the group. A good acting and directing choice. Moocher has a young wife and unbridled optimism at the future. Jackie Earle Haley was not present last night but all the cast members were very enthusiastic about what he brought to the film, and they recalled at the time, he was the biggest name in the cast having recently done the Bad News Bears movies.

Also attending the screening was actor Hart Bochner who played the Fraternity boy antagonist, Rod. Islands in the Stream". Although Rod might be seen as the bad guy in the movie, he really has little malice in his part. Most of the time he is reacting to the townskids. When the college kids go to the quarry to swim, the Cutters give them the cold shoulder. He reacts like a jealous boyfriend when the girl he is dating gets flowers and serenaded by an "Italian" exchange student. The only time he really seems to be a douche is when he is hitting on another co-ed as he drives her around campus. Bochner has a very effective moment of empathy and self loathing when Mike bashes his head on the quarry wall while racing Rod. Bochner also had to prompt Dennis Christopher on a couple of his memories about training for the movie.
This was only his second movie, after a film I wrote about earlier this summer "

One memory that Christopher did not need to be prompted on was the first day of shooting. He was extremely unhappy with the costumes and hairstyle that had been chosen for him. The implication was that he was a greaser rather than the naive young man embracing a fantasy identity. His self doubts were communicated to director Peter Yates and the actor and director altered to character to more closely reflect Dave as Dennis Christopher conceived him. It was a wise choice because Dave need to be the sympathetic center of the story and the other perspective would have undermined the audience reaction.

Both Stern and Christopher were moved by their participation in this film, early in their careers. Paul Dooley proudly stated that it was the best movie he ever appeared in and he thought it was his own best performance. I can't think of a reason to second guess any of these men. They also spoke very highly of the work done by actress Robyn Douglass who played Kathy, the girl that Dave is pursuing in his fake persona. All of them were also effusive in citing director Peter Yates as having a strong influence of the film. One of them mentioned how interesting it was that it took a British director to find the truth in an American family. Yates also helped shepard what were two screenplays into one, which turned the story into a more complete picture.

It is evenings like this which make living in the Los Angeles area worthwhile and the American Cinematique, whatever financial or management issues it might be facing, still knows how to put on a show.

courtesy American Cinematique

Ready or Not

Human beings are incredibly complex animals. While it is true that we have the same basic physical characteristics as other animals, for the moment, we are the only ones who can create elaborate stories to amuse ourselves. The detail, intricacy and inventiveness of some stories is amazing. The MCU has woven together twenty or so films so that ideas are connected in fairly logical ways. That is amazing. What is also amazing are the premises that we can invent for a story to exist in. "Ready or Not" doesn't have the internal logic of a comic book universe. It does not unify a variety of different story lines into a coherent single narrative like some films attempt to do [ex: Babel, Crash etc.]. This movie has only one idea, but it is a pretty good one. New members of a rich family must participate in a game ritual before they are truly accepted into the clan. That's all, except of course it isn't.

As a device for entertaining us, "Ready or Not" is a morbid little piece of film making that takes it's premise seriously, in spite of how preposterous it is. There are exit strategies available to the young couple which would abrogate all that follows, but that would deny us the pleasure of seeing the premise play out. So forget how the rules are supposed to work. Don't worry about internal consistency. Just sit back and watch the mayhem, root for the heroine and laugh at the gruesome macabre sense of humor that the story tellers have come up with.  Samara Weaving , a doppelganger for  Margot Robbie, plays Grace, the bride who is joining the eccentric and ultimately evil Le Domas family. Once the trap has been sprung, the movie is a series of escapes, close calls, character reveals and assorted Road Runner/Coyote antics, all with a heavy dose of violence.

The nice part of the story is we will actually like Grace. She is not a gold digger, she just happened to fall in love with the wrong man. The collection of misfits in the family is fun to watch because their privilege is so clearly on the surface and so exaggerated, no one will take this as a serious commentary on the haves and the have nots.  If you read a review of this movie that takes that point of view, be careful, the author is just full of it and you are being indoctrinated rather than informed by reading such clap trap. This is purely a work of imagination, a disturbed imagination, but certainly one that wants to amuse us rather than comment on the world around us. Grace discovers her situation, takes an appropriate amount of time to adjust to it, and then acts in a way that any of us might try as well. She continues to be a sound human being, and each time the horrible people she is up against try to take advantage of that. When at the end, the nature of the family "curse/agreement" is explained, it may seem over the top, but remember, this is just a story to entertain you.

The family is filled with quirky Aunts, entitled parents, climbing nephews and nieces, and some pretty unsympathetic help. This is another one of the places that makes little sense given the rules established in the story. Why the housekeepers and butler would be part of the ritual is not really explained, but why are you asking? This is about playing a game for no reason other than the fun of it. When random characters are dispatched by accident we will laugh at the sadistic way the writers found to visualize it on screen. As we see how inept some of the family is, we will be amused when those are the people who cause the mistakes or suffer the consequences of said mistakes.  All that we want is to keep rooting for the sympathetic Grace and wait for the comeuppance the family is earning for itself. The twists and turns are what this is all about.

Henry Czerny, Andie MacDowell and Adam Brody are faces I know from other films and that may be why they leave the biggest impression. Czerny is the cavalier head of the family who can't believe that anyone might challenge the established order of their universe. He also is the exasperated voice of the family when the unfortunate relatives screw up. MacDowell has moved from being the ingenue in the story, to being the main romantic lead, and now to the matron role that aging actresses get saddled with. The false sympathy she conveys shows that she has grown as an actress, who had to be dubbed in her first film, to someone who is competent in conveying a character, regardless of how realistic that character is. Adam Brody is on the brink of outgrowing the young callow characters he is playing in most things, but he got more to do in this film than he did in "Shazam!" earlier this year.

It says something about people when they can invent the scenario that comes up here. It might say even more about us that we could be amused by that scenario. This is a dark hearted comedy thriller. If you have the kind of sensibility that allows for you to laugh a a stranger's unfortunate demise, then you will probably enjoy this film. If you require that a story be logically consistent and exist in a real world scenario, better you stay away. If you have a sick appreciation of the absurd however, you will find this movie a romp right down your alley. Now all we have to do, is figure out which kind of player you are.

It Chapter Two

Two years ago, the trailer for "It" built enough anticipation to make a slightly above average horror film, into a monster hit. That original trailer showed us next to nothing, other than the scene that introduces us to Pennywise the clown, in the gutter, tempting little Georgie. When the rest of the film showed up, it could not live up to that terrifying and suspenseful three minutes. They certainly tried with some clever effects and good performances from the young cast. Fans of the book knew there was more coming and naturally Chapter Two was a forgone conclusion.

The pattern repeats itself here. The first film gives us the promise of something special, and we waited two years for it. What we got was pretty average and not nearly as scary as that original trailer for the first film. The trailers for this movie also gave away too many of the creepy moments that would work better as a surprise.

I will say that the opening of the film works very well. A brutal confrontation with small town bigots actually makes us wish for Pennywise to show up and dispatch these a**holes as soon as possible, but first we are reminded about how evil the clown is, and that his return under any circumstances would not be desirable. After a few chilling images that suggest things have started up again, we get a basic quest film story. First the heroes must gather, most reluctantly. Then each of them has to complete a quest individually, in order to proceed to battle, and then finally they all have to come together and work as a team. If you've seen it once, you've seen it a thousand times.

Probably because the book was so dense, there is some exposition that has to be rushed. It sure seems awkward when one character basically roofies another with psychedelic activated natural juices to get him to share his visions. It was also unclear why, after all the losers have gathered and been subjected to a psychic attack from Pennywise, that they still need to be convinced. The idea that their memories have faded after leaving town is an interesting one but not very well explored. Since the film ends up being the better part of three hours anyway, maybe trim the bloated visual effects at the end, and build and solve this mystery at the beginning. 

The individual quests are reasonably entertaining, but there is an element of repetitiveness to them. After the first jump scare with a truly disturbing visual effect, the subsequent experience are a series of diminishing returns that rob the story of any drive and frequently take us down a path of confusion that is never really developed or needed. Jessica Chastain as the grown version ofthe lone girl in the first film is fine.  Bev's trip down memory lane was the standout in this set of moments, but it was also the one that was featured in the original teaser trailer so that the only surprize is the last minute creature effect that gives us a jump scare. Maybe I'm a little jaded having watched two other horror films the day before, but I had none of the anticipation of dread that filled the first film.

There is a running joke about how Bill played by James McAvoy, as a grown man who is now an author of thrillers, is not very good at creating endings for his story. We get that joke at least three times, including a delivery of the punchline by the actual author of this story. I suppose the point of this was to prepare us for the let down of an ending we get here. The best moments of emotional satisfaction in the relationships between the characters, get drowned out by an overblown CGI sequence which features the cast chanting a message that feels pretty hollow. It also goes on, and on. Some many things that had to be condensed, were reduced to give us more of this, the least interesting and frightening part of the film. The coda has some nice moments, Bill Hader steals most of the movie and there is a clever bookend that ties in to the introduction, but the voice over material is overwrought and goes on far too long as well.

"It Chapter Two" is a disappointment from a horror perspective but it is visually inventive and there are a few jump scares that will probably satisfy fans. I really wanted to like it better. Unfortunately, that was true of the original film as well. The adult casting of the kids from the original is solid. Those kids are also back in a series of flashback points that elaborate on the end of the first film and fill in some narrative spots for this story.   

Scary Stories to Tell in the Dark

The short stories that this film is based on were apparently popular for several years and encouraged an interactive view of reading, with deliberate shouting at jump scare moments or a cleverly timed flashlight or hand touch. This is just the thing for adolescent ghost stories, told at a camp, retreat or sleepover. The film repeats the concept if not the exact stories. It is directed at a maturing tween audience, thus it is rated PG-13, with a good amount of creepiness but a very short supply of gore. It is a family friendly horror film that can be appreciated by mild core fans rather than just the hard cores gore crowd.

Back in the 1980s, this might have been an anthology film, like "Creepshow", "Cat's Eye", "Twilight Zone:The Movie" or "Tales From the Dark Side". Someone, probably co-screenwriter and producer Guillermo del Toro, decided to string the stories together in a single narrative that feels very episodic anyway. The concept does have the advantage of giving the audience a little more time to care about the main characters and what is going to happen to them. The thread of the book written by a spirit as a story plays out is just enough to make the plot work at moving forward coherently.

"Scary Stories to Tell in the Dark" plays like a demented version of "Willie Wonka and the Chocolate Factory". As each victim gets singled out by a specialized need they have and it gets woven into the story, characters start to disappear. Unlike the Chocolate Factory however, there are no Ommpa Lumpas to make things right afterward. While it starts out as a haunted house movie, it really follows the curse plotline much more of the time. The doomed protagonists try to figure out what fate will befall them, and then the group reacts. There are some pretty good sight gags and more than a few jump scares to keep us interested. There are a couple of things however that don't make a lot of sense.

Setting the story in the week between Halloween and the Election of 1968 does not seem necessary. Everytime we get some background on the Vietnam War or the campaign, it takes us out of the main idea of the story and redirects our attention. There is one minor plot point that might require this time period, but it seems so obscure and last minute when it gets dropped in, that most of the audience, especially the kids that this is directed at, will shrug their shoulders and wonder why this is being presented as a history lesson instead of a contemporary story.

This is a movie that will have a long future at Halloween film events focusing on kids. Maybe we can stop pretending that "Hocus Pocus" is a good Halloween movie, and instead get kids to watch something like this. It sure does feel like it is being set up for a series of sequel type films, but the producers may have painted themselves into a nostalgia corner with the time setting. I guess we will see in a couple of years. 

47 Meters Down: Uncaged

As is readily apparent on this site,we have a soft spot for shark movies. We even see the bad ones, although I have to admit, I've missed a few of the "Sharknado" sequels. Two years ago there was a fun surprise when a movie which was saved from straight to video got a theatrical release and "47 Meters Down" turned out to be a modest hit. It was also a solid summer shark feature with an interesting premise, the perspectives of the shark attacks will be underwater rather than on the surface. Here we are two years later and it is time for a sequel of sorts.

Director Johannes Roberts returns to the subject of sharks underwater with a different cast and modified premise. So the only thing that you need to know from the original film is that there are sharks, otherwise the two stories are completely unrelated to each other. This one starts off with a pretty standard high school girls story. A awkward outcast is tortured at her new school by a Queen Bee and her minions. Her step sister refuses to step in and a tension filled family dynamic is set up. The father in the blended family, played by John Corbett, is an archaeologist, working on a sunken Mayan set of ruins. He attempts to have the two reluctant sisters bond over an expedition to a Great White Diving experience, but the more popular sister's friends have a different plan in store and in an attempt to try to bond, the reluctant sister accompanies the group of friends. It turns out that one of the girls is dating the Dad's assistant and he has shown her the access point to the underwater caverns. You can pretty much guess what happens from there.

The four girls all seem interesting and are stereo-typically cute, and they engage in the sort of group think behavior that would be likely in those circumstances. The underwater sequences are filmed in a supposed maze of ruins with a Mayan alter in the center. The girls believe their father is operating on the far end of the site so they think they can get away with this expedition. Cue the sharks. Oh and by the way, they are not just sharks. Since they have evolved in an enclosed area, their are sightless. That's right, the threat will come from blind shark, Great Whites in particular. The second threat, which is a repeat of the premise in the original film, comes from the dwindling air supply of the four girls. Modern radio systems seem to allow the girls to speak to one another or anyone else in range while underwater, so that eliminates the need for a lot of pantomime or hand signals. They can scream in fear and offer narrative exposition as necessary.

So a combination of disoriented divers, cave ins, strong currents and of course blind sharks, are used to create the suspense of this film for the rest of the run time. The logic of what is happening is not exactly credible, but it is way ahead of "Sharknados" and as a result, real tension does build up. There are plenty of jump scares and a few moments of release, but like all films that involve jeopardy in nature, there is always one more thing that can go wrong. Let me assure you that plenty of people die from shark attack and that the visualization is effective if not as horrifying as the deaths we saw earlier in the summer in "Crawl".

The alligator movie is a lot better than this film is, but I am not asking too much of this, just that it entertain me with shark related peril for a while, it does that. The director is competent in making the underwater action thrilling is not always entirely plausible. The four actresses have some TV credits and a couple of movies but they are largely fresh faces. Two of those fresh faces however belong to families that you are likely to know. Sistine Stallone, who plays the bratty friend makes her film debut in this movie, following a path blazed by her father, who you all know as Rocky. Corinne Foxx, the slightly older step-sister is the progeny of actor Jamie Foxx. After they are all underwater, it is hard to evaluate any of the actresses on their thespian skills, but no one makes the kind of misstep that would otherwise ruin this slightly preposterous nature thriller.

  

Lawrence of Arabia End of Summer 2019

OK, yes, we went to see Lawrence again. I know this is getting a little redundant, but as I have said in the past, if you can see a movie you love on the big screen, jump at the chance. After all, life is short and you never know when the opportunity will arise again. We had planned on going to this Fathom event on Sunday, but after two late nights before and some planning of a birthday for the next day, we slid back into the Wednesday afternoon screening. This was the full roadshow presentation, with Overture and intermission. TCM Host Ben Mankiewicz introduced the film with some details about the casting process. Apparently a lot of money was spent on a screen test of Albert Finney but he fell out. Marlon Brando never responded to offers and when O'Toole was tested, halfway thru the test, Lean stopped and felt he had found his star.

I always try to find a little something different to emphasize about a film that I have written about before. It has gotten tougher over the years, because of the number of times I have seen certain films [Jaws and Lawrence stand out, but you can add almost every Bond film as well], to find a new angle. As I was sitting in the theater and the lights had gone completely out for the overture (modern theaters don't quite get it), I was immersed in the score without any other sensory data. That inspired me to try and pay particular attention to the sound design of the film and the music cues. "Lawrence" is a film that is noted for it's visual sweep and rightly so. I think it is also true that it is aurally a majestic piece of work as well.

The Academy Award winning score by Maurice Jarre is noteworthy because of the familiar title theme, but there is so much more in this film that the music enhances. The familiar melody reoccurs of course but there are other sections of music that are quiet and contemplative or strident and martial. They are integrated into the action seamlessly in every scene in the movie. What is also well crafted by David Lean and Jarre is the absence of music in some sections. The desert at night is often quiet. When Lawrence is thinking about the idea of attacking Aqaba there is an ominous score but as they travel under the stars later, it is eerily quiet.



In past posts I have mentioned the sound of the  creaking tent poles in Faisal's tent as the wind moves over the structure. There are dozens of other moments where the sound is equally important. At the well, listen to the echo as Tafas tosses the goatskin receptacle down to gather up some water for he and Lawrence. The ominous silence foreshadows the visual scene that is about to take place. When Lawrence is singing out to the echo and it is being heard by Brighton, the effect is staggering at suggesting the distances at which they are communicating with one another. The sound of the camels and horses at Auda's camp is like thunder rolling over the dunes. Train whistles and steamboat horns also jump out at times, creating the equivalent of an audio jump scare. The clanging of two ladles, hanging from the animal of the retreating Turkish troops, builds an anticipation of the bloodbath that is about to begin.

From the beginning of the film, sound swallows us up before there is any dialogue. Lawrence's motorcycle revs up as he takes off from his starting point and it ratchets up and down as he cruises through the English countryside. Note however the distinct difference in sound when the vehicle travels over the rise and we hear a hushed spinning of the wheels rather than the engine roar we had before. Every step of this film had little moments of genius like that, and then Jarre's music cue would top it off immaculately. Frankly, I could have sat in the theater in the dark and listened to the score on the sound system and been happy. My emotions can be easily manipulated with the right musical note. Once again, my whole body shuddered with delight at the artistry of the film makers when we go to intermission.