David Lean’s epic “Lawrence of Arabia” (1962) deals with the historical figure of T. E. Lawrence (Peter O’ Toole), and focuses on his conflict-ridden quest for identity. Yet the movie had to endure some criticism for certain lacks and liberties when it comes to historical accuracy; some critics maintain that it is rather a fictionalized at times romanticized version of a megalomaniac and that the movie conveniently omits and distorts important facts about its historical source, one of them being Lawrence's homosexuality.
However, considering the time period it was made, the movie is still rather bold and daring and it does actually hint at Lawrence’s sexual orientation, for example, when he poses in his flapping Arabic gear in the desert. Also we are left in the dark about what happened to him when captured by the Turkish officer who seems to have taken a particular sexual interest in his fair-skinned, blue-eyed subject.
Particularly in that scene Lawrence realizes that he failed and could not disguise himself as another Arab and it was definitively not due to his lack of Arabic mannerisms or his cultural and literary knowledge, but due to an unfaltering, unchangeable fact: his skin color.
The Quest for True Cultural Identity
Throughout the movie Lawrence is looking for his true identity; he does not fit in the stifling rigid environment of the British military, being somewhat of an irresponsible, awkward and idealistic disposition. He is acknowledged for his literary knowledge and he is imbued although not with perfectionism, yet with a stern discipline that mirrors a Stoic philosophy. It seems he has rigorously trained himself for not feeling the physical pain of a burning matchstick, as we see in one of the opening scenes.
Lawrence decides to shed his former identity and dresses up as an Arab. When Sherif Ali, played by Omar Sharif, tells him that once he gets back to his military camp he would shed the Arab clothing for British trousers and uniform, Lawrence assures that it will not happen. Lawrence follows up on his word, yet is shocked to encounter open racism and hostility towards his new appearance from his fellow officers. In other words, Lawrence is put back into his “place”; he is a British officer and not an Arab after all.
The Darker Recesses of the Mind
Yet there is a startling realization that Lawrence has made during his stay in the desert. He notices that there is a certain tension for violence within him and he confesses to the British officers that he actually enjoyed the act of killing.
This discovery about the darker parts of his personality induces fear within Lawrence, which is why he refuses to go back to the haunted desert landscapes, while British “civilization” manages to keep his wild impulses at check. Nonetheless, because of his military successes and his great popularity among the Arabs, he is sent back to the region.
The British officer in charge knows how to manipulate him and flatters Lawrence’s steadily growing ego. In fact, Lawrence sees himself as a chosen, even messianic figure, both for the British as well as the Arabs and that he, like a godlike prophet, can bring peace to a strife-ridden explosive region. Lawrence returns to the desert, but by now he is even unrecognizable to his Arab friends because he has turned into megalomaniac self-obsessed individual who actually frightens Sherif Ali, his most loyal companion.
The movie reveals hidden conflicts in the soul of a historical person who made great strides in Arabia trying to unite the Arabs. It is not as much a history lesson, but shows the complex and intricate psychology of its protagonist. Despite a strong and determined personality with good intentions, Lawrence falls prey to his darker violent nature.
Arash Farzaneh - Arash Farzaneh is a writer and a language professor. He has a Master's degree in French literature with a minor in Psychology. Since his ...
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