My point was that effect matters more than the tools used: a given unreal-looking landscape might be CGI-generated or photographed from a real location, but does it matter if the final effect of both is of overt unreality? Sadly, that giddy abandon falls away as Charm City Kings moves toward a conclusion so overloaded with generic life lessons that it loses the site-specific appeal of its story. The technical aspects can be awe-inspiring at times. Maybe it’s just that I don’t really buy into “the eroticism of war,” at least as it’s presented here. Despite all the local color scattered throughout the film, this was the scene where I think Lean fully communicated this sense of a foreign culture, of something that he finds beautiful and mysterious but can’t explain or understand. It’s beautiful. His daughter, Ava (Amanda Christine), behaves as if she were an adult woman in the body of a 10-year-old, and it’s some time before we gather that her mother, Rachel, was killed in the car accident that Nolan survived, forcing Ava to take on the role of her father’s caretaker. In saying that I don’t mean to imply that all those army-on-the-march shots aren’t also generally indicative of the era in which Lawrence of Arabia was made—a time when Americans still loved the Western and thus directors had a fondness for filming men on horseback (or camelback, in this case). But there is a deeper effect. I could gush a great deal more about all the stunning scenes in Lawrence of Arabia, because there are so many sequences where I’m simply blown away by the power of Lean’s imagery and his ability to define a character so precisely and memorably through purely formal, visual means. What’s most puzzling about the film, from my perspective, is that it’s a nearly four-hour character study on a grand scale, and yet I still feel that Lawrence is kept at a distance not only from other people but from the audience as well. If Shaft is Barry White and Melvin Van Peebles’s Sweet Sweetback’s Baadasssss Song is the Sex Pistols, then Ganja & Hess is John Cage. By showing Lawrence effortlessly carving his way through the rugged desert as if it’s his own playground sandbox, Lean conveys Lawrence’s early romanticism of the desert, his yearning for adventure and his sightseer’s naïveté. Eric Henderson, Ganja & Hess is both a highly personal reconstruction of the vampire myth (many cite it as the “anti-Blacula”), as well as a Godardian broadside, allowing us to imagine that Bill Gunn was actually thumbing his nose at the way the industry was shaping up for African-American directors in the ‘70s, thanks to films like Gordon Parks’s Shaft. When the Arabs achieve their final objective and take Damascus, the tribes gather in a large room and try to unite. For perspective on how the crisis might have been addressed, the filmmakers present South Korea as Gallant to the United States’s Goofus, frequently juxtaposing Trump’s chaotic, anti-scientific response with South Korea’s coolly technocratic approach. If little of this is truly new—anyone who’s been following the pandemic’s development this year is likely to be aware of all of these issues and more—nowhere has all these different strands been tied together in one place. Fast-forward a few years and the now young-adult Atarrabi and Mikelats, played by brothers Saia and Lukas Hiriart (both prime examples of Green’s peculiar maybe-queer-maybe-not partiality for idealized male beauties), are nearing the end of their schooling.

“Wow, a leader apologizing. Canada’s Green Party leader Elizabeth May denounced the photo as racist and called upon Justin Trudeau to apologize. The storming of Aqaba—perhaps the closest the film comes to an action setpiece—is treated as a victory lap more than a battle. The film, a remake of the little-seen 2015 German film We Monsters by Sebastian Ko, is theoretically a tale of remarriage as brokered by delusional parenting. To put it another way, the crash instantly brings us to the same conclusion that Anthony Quinn’s Auda Abu Tayi only comes to after no gold is found in Aqaba: “He is not perfect.” Furthermore, the scene outside of Lawrence’s funeral establishes through the diverse reactions of the mourners that what follows will be somewhat mythical, as no one can agree on how to remember him. Indeed these days it seems as if a film needs to be streamlined to be mainstream. But in its way the world of Lawrence of Arabia is just as artificial, just as stylized, as the lurid CGI backdrops of Benjamin Button and 300 and other modern CGI epics. But let’s get back to Lawrence of Arabia. The film ruminates on how virtuality infiltrates the deepest regions of our subconscious to reprogram the inner workings of the self. In that respect, Lawrence of Arabia has more in common with There Will Be Blood than with an equally massive epic like Ben-Hur, the latter of which is more about what happens to the title character than about how the character is affected by what happens. Given that this is the first time we’ve encountered brownface in one of our discussions, I wanted to ask you if there’s any detrimental effect of these once-socially-acceptable brownface performances all these years later. I mean, really, just look into O’Toole’s eyes in that moment. But maybe that one is only blatant to me; I went to a Catholic high school and had an English teacher from the Jesuit priesthood who could find Christ symbolism in anything with perpendicular lines.

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