LawrenceOfArabia Tagged Articles at Cinematical

As the film prepares to take flight tomorrow, reviews are starting to pour in for Hilary Swank's Amelia. It's quite the mixed bag, from Roger Ebert's praise to Keith Uhlich's description of the film as a "colorfully hollow biopic about America's beloved aviatrix." Should more chime in with Ebert's positivity, the film could get decent buzz, but as it stands while writing this on Thursday afternoon, out of 13 reviews, it's got a paltry 23% fresh rating.

The negative sentiments aren't really a surprise. The early pictures of the film weren't exactly promising, and the trailer induced skeptical responses. But rather than rant about dreams of Amelia Earhart getting one of those biopics that mesmerizes from the get-go, I'm going to try and stay positive. Not every biopic has to struggle to find footing. In fact, some manage to capture the magic of their subject and make for a damn fine film.

Catch seven of my favorites after the jump, and since such a small number can't begin to cover them all, please weigh in with your own in the comments.

"One could say my life itself has been one long soundtrack. Music was my life, music brought me to life, and music is how I will be remembered long after I leave this life. When I die there will be a final waltz playing in my head and that only I can hear." *

The week starts with some unhappy news, as the AFP reports that Academy Award composor Maurice Jarre has passed away at the age of 84. He wrote music for over 150 films, and many of them for the great directors: John Frankenheimer, Alfred Hitchcock, John Huston, Luchino Visconti, David Lean, and Peter Weir.

In his long career, he was nominated for an Oscar nine times, and took home three. His three Oscar wins were for what are probably his most recognizable scores: Lawrence of Arabia, Doctor Zhivago, and Passage to India. Doctor Zhivago will alwaos be one of my favorites, and despite that Lara's Theme has been much abused over the years (Roger Ebert calls it one of his least favorite pieces, and Jarre himself was annoyed at the overuse of it in the film), it's a score is just pure sweeping, tragic romance.

Here's a collection someone on YouTube put together of his "greatest hits", below the jump are two of my favorites. One is naturally Doctor Zhivago, but my favorite part is at 1:38.

Please feel free to link to some of your favorites in the comments, it'd be great to hear them.

* ETA As an astute commenter pointed out, he was not the composer for Danny Boyle's Sunshine, but the 1999 István Szabó film. I read his filmography too fast. My apologies.

* ETA Apparently, the quote was a hoax. Thanks for cheapening one man's death for a social media experiment, sir.

There are a few classic films that I simply refused to rent while growing up, specifically for the reason that I knew I should see them for the first time on a big screen. Of these, I managed to see both 2001: A Space Odyssey and Blade Runner in a theater, while others, such as Lawrence of Arabia and Close Encounters of the Third Kind, were on television too often to ignore them on the small screen first. One film that I'm still dying to see in a theater is Terrence Malick's Badlands. A few years ago I actually went to a special screening of the film in Connecticut, but it was disappointingly (understatement) projected from a DVD copy. Then two months ago it played one show at NYC's IFC Center, but I had to miss it for another engagement.

Last week Entertainment Weekly presented an article/photo gallery titled "23 Movies You'd Like to See on the Big Screen," which lists these kinds of films (there's actually many more than 23 cited), most of which should ONLY be seen on the big screen, as they were originally meant to be. The list includes obvious epic choices like 2001, Lawrence of Arabia, Gone With the Wind, The Greatest Show on Earth and The Ten Commandments, as well as other classics, like Malick's Days of Heaven, Casablanca, Once Upon a Time in the West, Star Wars, High Society, Halloween, Singin' in the Rain, To Kill a Mockingbird, Psycho, Oklahoma!, The Music Man, Snow White and the Seven Dwarfs, The Searchers, Stagecoach and The French Connection.

If you thought leading a revolution was easy, try filming one. In The Huffington Post, Jeffrey Wells of Hollywood Elsewhere discusses Steven Soderbergh's two-part Che Guevara biopic, comprised of The Argentine and Guerilla. Despite earlier rumors to the contrary, it appears that both movies will definitely screen next month at the Cannes Film Festival, where Soderbergh was warmly welcomed last year for the premiere of Ocean's Thirteen. The reception of his latest project could be even more positive, but its distribution prospects are another story: As Wells explains, Soderbergh's project guarantees to offend some people for its apparent exclusion of Che's stint as the overlord at La Cabana fortress, where he ordered the execution of over 600 political prisoners. Add to that the heavy amount of Spanish dialog and the director's insistence that the two movies should be enjoyed as a four hour-plus package, and you've got enough red flags to send even the bravest U.S. distributors packing.

Wells, who read both scripts, analogizes the project to Lawrence of Arabia. "Hey, how about presenting the two films as a single, gargantuan Lawrence of Arabia-styled deal with an intermission, running between four or four and a half hours?" he suggests, perhaps somewhat tongue-in-cheek.

Jon Stewart had it right during the Oscars this year when he ironically geeked out over Lawrence of Arabia on an iPod. If most audiences can't appreciate that movie on the big screen now, why would they turn up for something like this?