A Few Words About While we wait for A few words about...™ Lawrence of Arabia -- in 4k/UHD Blu-ray (3 Viewers)

[B-ROLL]

Certified "Fresh"

 

[SAhmed]

Free range as well

Regards

 

[B-ROLL]

Gluten free

 

[Robert Harris]

 

[PMF]

View attachment 53631

I could swear that those 3 frames are of Jack Hawkins and myself;
as I've always been a major clapper for "Lawrence".

 

[owen35]

For what it is worth, iTunes has a sale on Lawrence where you can purchase the 4k version for $4.99. Did this last night and it looks excellent on my OLED.

 

[Dick]

When marketing, publicity and journalism look askance at reality...


https://www.screendaily.com/news/roma-to-get-limited-70mm-theatrical-run/5135479.article

I wept when I saw this was a Netflix production. That virtually guarantees no physical Blu-ray release.

 

[Robert Harris]

https://dxl.panavision.com/

 

[Bill McCamy]

DXL Panavision: If you have to ask "how much?" You probably cannot afford it.

Just think of the travel videos one could make with that camera...

 

[Charles Smith]

I'd be inspired to capture an occasional video of the cats if I had something halfway respectable like that.

 

[Brian Husar]

https://dxl.panavision.com/

DXL Panavision vs Arri Alexa 65, which one is better. I know the DXL can use all of Panavision's 65mm lenses including the Super and Ultra Panavisions, but so can the Alexa 65. I wish it didn't take Panavision this long to come up with a large format 65mm hi def camera.

 

[Vincent_P]

"Attributes such as a shallower depth of field..."

When I think epic filmmaking, "shallow depth of field" is the last thing that comes to mind.

Vincent

 

[Vincent_P]

The American Society of Cinematographers crowns LAWRENCE OF ARABIA the best shot film of the 20th century:

https://theasc.com/news/asc-unveils...e-films-in-cinematography-of-the-20th-century

Vincent

 

[OliverK]

The American Society of Cinematographers crowns LAWRENCE OF ARABIA the best shot film of the 20th century:

https://theasc.com/news/asc-unveils...e-films-in-cinematography-of-the-20th-century

Vincent

Very good for Lawrence of Arabia and a deserved number 1 spot. I see a comparatively big number of movies on that list that I think would not be on it if it wasn't for them being considered to be critical and/or commercial successes but I guess that is to be expected.
Very surprised to not even see one movie on the list that was shot by Leon Shamroy, they were probably too sharp and well-lit...

 

[Vincent_P]

Very good for Lawrence of Arabia and a deserved number 1 spot. I see a comparatively big number of movies on that list that I think would not be on it if it wasn't for them being considered to be critical and/or commercial successes but I guess that is to be expected.
Very surprised to not even see one movie on the list that was shot by Leon Shamroy, they were probably too sharp and well-lit...

Yeah, since the list is supposed to represent "the 100 milestone films in the art and craft of cinematography of the 20th century", I'm surprised that the first ever Cinemascope film THE ROBE didn't meet their criteria of a "milestone" at the very least.

I also think Luciano Tovoli's work on SUSPIRIA belongs somewhere on that list of 100 myself

Vincent

 

[PMF]

The American Society of Cinematographers crowns LAWRENCE OF ARABIA the best shot film of the 20th century:

https://theasc.com/news/asc-unveils...e-films-in-cinematography-of-the-20th-century

Vincent

Freddie Young must be smiling from the heavens.

As it is, I sincerely believe that Mr. Young's work on "Lawrence of Arabia" and this deserved #1 spot would never have been fully realized by the ASC were it not for its brilliant restoration work; as performed by Mr. Robert A. Harris and Mr. James C. Katz.
So with that in mind, I dare say "Bravo" and "Congratulations" to each of these three and goodly gentlemen for their collective achievements and for this most distinctive of honors, as bestowed by the American Society of Cinematographers.

 

[OliverK]

Yeah, since the list is supposed to represent "the 100 milestone films in the art and craft of cinematography of the 20th century", I'm surprised that the first ever Cinemascope film THE ROBE didn't meet their criteria of a "milestone" at the very least.

Indeed I immediately thought of The Robe but also of his magnificent work for the Fox large format productions like Cleopatra, The Agony and The Ecstasy or The King and I. His resume speaks for itself I guess:
https://www.imdb.com/name/nm0005872/awards?ref_=nm_ql_2

I also think Luciano Tovoli's work on SUSPIRIA belongs somewhere on that list of 100 myself

That is indeed a very intersting look he has created and while I am not into the genre that much i am tempted to finally watch it just because it looks so unique.

 

[Stephen PI]

Several years ago I transposed several scenes from my copy of the screenplay on IMDB and how it finished up in the film, but it was removed. It took several hours to type. I recently found it among my documents and I thought it might be of interest to some of you.

A) The opening: Lawrence's Death. (The close-shot of the motor-cycle, right after the finish of the credits, was to be the title backgrounds. The title background was changed to a high angle shot of the motor-cycle).

1. As a background to the SCREEN CREDITS the following:

CLOSE SHOT of the MOTOR BICYCLE. It is large, powerful and in beautiful condition. We can see that it is standing in some kind of country shed with a background of work-bench, petrol cans and so on. A few wild flowers, dandelions and such, are stuffed rather roughly in a jam jar on the work-bench. The shed is open-fronted and the motor bicycle and it's background are dappled with sunlight falling through nearby leaves. A MAN comes and stands between us and the machine with his back towards us. We can only see him from the buttocks down. He is wearing heavy motor-cycling boots and slaps onto the petrol tank a pair of gauntlet gloves. CAMERA stays on this while he prepares the machine - filling the tank, adjusting choke and mixture controls, ad lib as needed. He mounts and kicks the starter and moves off frame, with a roar.

2. PANNING SHOT. The motor-cycle leaves the farmyard into the lane.

As background to FINAL CREDITS, The peaceful farmyard; noise of motor-bike receding to silence. Then sharp cut to:

3. EXTREME CLOSE SHOT. The MOTOR-CYCLIST. Head and shoulders. On SOUND TRACK engine roaring. He is so heavily begoggled and mufflered as to be anonymous but he wears no helmet and his bright hair is ruffled in the slipstream.

4. MOVING SHOT of the road ahead. At a distance, the road is up. It is too early in the morning for the workers to be there; a NIGHT WATCHMAN yawns over his brazier. A notice says "WARNING. Drain laying. Roadworks ahead". We throttle down and pass the roadworks, still too fast and bank for a corner. Round the corner a similar roadworks and a similar notice which we see nearer than before, the word "WARNING" looming larger. Again we throttle down and pass the roadworks, again too fast, and are accelerating immediately towards a second corner.

Coming out of the corner a third roadworks ahead. The same notice repeated, this time the word "WARNING" almost filling the screen.

5. CLOSE SHOT of the MOTOR-CYCLIST. The scarf has slipped a little and we can see his mouth. It is neither smiling nor particularly determined but it set's into a sort of still calm as the CYCLIST accelerates:
Through the roadworks far too fast. We swerve to the left, to the right, tilt, approach a blind bridge, are out of control, spin, crash.

6. CLOSE SHOT. A piece of road. The goggles slither along it up to CAMERA.

Note: The main title background was filmed in Almeria, Spain.
Lawrence's death was filmed on two roads, Stone Hill Road and Staple Hill Road, in Chobham Common, Surrey, England. These scenes were among the last to be filmed in September, 1962, three months before the World Premiere!
B) Map Room
This brief dialog exchange, at the tail end of the scene, was deleted between the SERGEANT and the CORPORAL.

18) contd. THE CAMERA IS PANNING with him (LAWRENCE) on the way to the door. He opens it and turns.
LAWRENCE: Oh, if Captain Gibbon (he articulates the name with special politeness) should enquire for me, tell him I've gone for a chat with the General.
He turns to go.
19) CLOSE SHOT. The SERGEANT and CORPORAL.
SERGEANT: (not looking up) Right you are, tosh.
CORPORAL: (with just a shade of resentment) He's barmy.
SERGEANT: He's alright. (he slips from his stool and glances at the flimsy) Good Lord, he has too.
CORPORAL: What?
SERGEANT: Gone to see the General.
C) General Murray's Office, Cairo.
The difference between this scene and the way it finished up is at the very start. *The screen is filled with a huge three-dimensional map of Arabia. (This can now only be seen in the background).

26) INT. GENERAL MURRAY'S OFFICE, CAIRO.
CLOSE SHOT. GENERAL MURRAY is one of those regulation officers whose pride is to appear more regulation than anyone can be. His face is hard and shrewd, his expression exasperated. He is seated at his desk. On the wall behind him is an "Illustrated London News" type pen and ink sketch of heavy artillery on the Western front. On the ledge under the picture is a collection of empty shell cases of varying sizes. GENERAL MURRAY is adressing DRYDEN, a donnish man with a pale, lined, lively face, wearing civilian clothes who at this moment has his back to us as he stands looking out of a window overlooking the gardens of the headquarters.*
MURRAY: I smell an intrigue! An intrigue between the Arab Bureau and a junior officer of my staff! A very junior officer, an insubordinate junior officer, an officer who, so far as I can gather, has proved markedly incompetent in a very junior post.
D) INT. CORRIDOR. A few lines of dialog were removed from the head of this scene.

48) CLOSE TRACKING SHOT. DRYDEN and LAWRENCE. THE CAMERA IS TRACKING on a CLOSE SHOT of DRYDEN. LAWRENCE runs up behind him.
LAWRENCE: Oh shabash, Dryden!
DRYDEN (avoids him and keeps walking).
DRYDEN: (reproving) He's not a bad chap, Lawrence.
LAWRENCE: No he's not a bad chap, he's a fool. (grins in anticipation) How did you do it?
DRYDEN (again avoids him and goes on walking).
DRYDEN: You might better ask me why I bothered to......
E) INT. DRYDEN'S OFFICE / EXT. DESERT. The way this scene is written clearly demonstrates how a film is created in the editing room, particularly in this case as it turned out be one of the classic transitions of all time!

INT. DRYDEN'S OFFICE
49) MEDIUM SHOT. This is a room at once similar to but utterly different from GENERAL MURRAY'S. It is elegantly furnished and carpeted, the room of a cultivated xenophile. There are pictures of ancient desert monuments and fragments of carving.
LAWRENCE: Good. And when I've found him?
DRYDEN: Find out what kind of man he is. Find out - (his gaze wanders somewhat) - what his intentions are. I don't mean his immediate intentions - that's Colonel Brighton's business, not yours. I mean his intentions in Arabia altogether.
LAWRENCE appreciates the significance of all this. He walks away a little and comes to rest with his hand on a fragment of stone.
LAWRENCE: Oh that's nice...
DRYDEN agrees. LAWRENCE puts down the piece of stone.
LAWRENCE: Where are they now?
DRYDEN: Anywhere within 300 miles of Medina. They're Hashemite Bedouins, they can cross 60 miles of desert in a day.
LAWRENCE throws back his head in silent rapture.
LAWRENCE: Oh, thanks Dryden. This is going to be fun!
DRYDEN: Lawrence, only two kinds of creature get 'fun' in the desert, Bedouins... and - (his gaze wanders round the photographs of silent sun-scorched figures and the fragments of stone) - gods. And you're neither. Take it from me for ordinary men it's a burning fiery furnace.
DRYDEN is irritably tapping a black Russian cigarette for himself. LAWRENCE steps forward, takes a box of matches and lights it for him.
LAWRENCE: (very quietly) No, Dryden, it's going to be fun.
The set intensity of his expression is in utter contradiction to his words.

50) CLOSE UP. DRYDEN. He looks from the burning match in LAWRENCE's fingers to LAWRENCE's face.
DRYDEN: (rather sourly) It is recognized that you have a funny sense of fun.

51) CLOSE UP. LAWRENCE. He smiles and raises the flame to his lips. He bows it out in the normal manner.
DISSOLVE TO:

52) SUNRISE IN THE DESERT:
A series of shots taken with an under-cranked camera so that the change from grey dawn to brilliant sunlight is speeded. The audience should be unaware of the trick process, but from the first appearance of the sun over the horizon and the casting of the first shadow there should be a constant sense of movement as the sun rises higher and higher and the shadows grow shorter and shorter. Prominent in the composition of almost every shot should be the footprints of two camels. We do not see the actual camels until the series of under-cranked shots are finished and we
CUT TO
53) THE SUN, now a searing white.
54) LONG SHOT. A brilliantly lit desert vista of sand and rock. The tiny figures of two MEN on camels appear over a distant ridge.
F) Lawrence and Tafas. The conclusion to the water-drinking dialog scene was filmed and deleted.

57) CLOSE SHOT. LAWRENCE and TAFAS. Almost involuntarily LAWRENCE takes in a deep breath of air.
TAFAS: Here you may drink, one cup.
LAWRENCE unstraps a tin army mug and fills it from his water bottle. He is about to drink and then stops.
LAWRENCE: You do not drink?
TAFAS: No.
LAWRENCE: I will drink when you do.
LAWRENCE begins to return the water to the bottle.
TAFAS: (grunts and shrugs) I am bedu.
DISSOLVE TO:
58) LONG SHOT. A MUD FLAT UNDER FLOATING DUST. (But the mud flat should be broken by rocks and not comparable to the Nefud mud flat later, and the dust does not comparable to either the opaque wall of the dust-storm nor the weird effect of Sinai. This is, as it were, a mere introduction to and explanation of the phenomenon.)
59) MED. TRACKING SHOT. LAWRENCE and TAFAS emerge well powdered from one small cloud into clarity. TAFAS ties his headcloth round his mouth. LAWRENCE spits out dust while TAFAS is doing this and TAFAS looks at him. They are obscured again.
60) MED. TRACKING SHOT. They emerge. TAFAS offers to LAWRENCE a bit of rag, intimating in mime that he should tie it over his mouth. LAWRENCE hesitates. They are obscured again.
61) MED. TRACKING SHOT. They emerge, LAWRENCE with the rag tied over his mouth. CAMERA PANS with them.
62) LONG SHOT. They ride away from us towards the next cloud which distantly drifts down towards them.
DISSOLVE TO:
63) MED. SHOT. It is evening and the two camels are approaching the long shadows of a circle of juniper bushes and high sheltering rocks which frame a secluded hollow of soft-colored sands. The camels are brought to a halt.
64) CLOSE SHOT. TAFAS and LAWRENCE.
TAFAS: We will sleep here.
The camels are made to kneel and TAFAS dismounts. For a moment LAWRENCE remains in the saddle easing his aching back, then, anxious to hide his discomfiture, he climbs stiffly out of the saddle only to find that standing is even more painful. TAFAS has untied his water skin and brings it to LAWRENCE.
TAFAS: (smiling) And now we will both drink.
LAWRENCE undoes his cup and holds it out.
TAFAS: (pouring the water) You do well...Aurens.
LAWRENCE: Lawrence.
TAFAS: Aurens.
LAWRENCE raises his cup to him. They both drink.
65) CLOSE SHOT. A red sun low on the horizon.
DISSOLVE TO:
66) LONG SHOT. A huge cliff of dazzling white sand leading up to a ridge backed by deep blue sky. After a few moments the small figures of the two MOUNTED MEN appear over the crest.
67) CLOSE SHOT. TAFAS signals a halt and both MEN stare down at the landscape below.
68) LONG SHOT. A wide and empty plateau with mountains in the distance.
69) CLOSE SHOT. TAFAS points out ahead, but seeing nothing, LAWRENCE unslings an old pair of binoculars and raises them to his eyes.....

Note: The NIGHT CAMP scene in the screenplay follows the binocular sequence. The NIGHT CAMP scene was moved ahead in place of the deleted portion of this scene.
G) LAWRENCE and ALI - First Meeting At The Well. (Some lines were omitted. A piece of action not in the screenplay was filmed and deleted. ALI, mounted on his camel, in a playful manner races back and forth several times past LAWRENCE, barely missing him.)

106) MED. SHOT. LAWRENCE stands with his back to CAMERA in the foreground of picture. In the background the STRANGER rides slowly towards him and finally comes to a halt on the other side of the dead man. After a glance to make sure that TAFAS is dead he thrusts his rifle into the saddle holster, unwinds his headcloth, and leaps gracefully to the ground. He is a handsome young man of about LAWRENCE's age; an impressive figure in both bearing and costume. He picks up the pistol. He examines it.
ALI: Is this pistol yours, English?
LAWRENCE: No, his.
So ALI stuffs it complacently into his own waistband and approaches the well followed by his camel. He picks up the tin mug which is lying on the wall of the trough.
ALI: His?
LAWRENCE: Mine.
ALI: (as one who confers a compliment) Then I will use it.
He scoops a little water from the trough and does so, LAWRENCE turns TAFAS onto his back.
ALI: He is dead.
LAWRENCE leaves TAFAS and approaches ALI.
LAWRENCE: Yes. Why?
ALI: This is my well.
LAWRENCE: I have drunk from it.
ALI: (politely) You are welcome.
They look at one another. Neither of them frightened but in mutual incomprehension.
ALI: (comforting) He was nothing, English.
LAWRENCE: Then why kill him?
ALI: He was nothing. The well is everything. And it is mine. I am Sherif Ali Ibn El Kharish.
LAWRENCE: (this is real news evidently, and makes LAWRENCE's mood more thoughtful) I have heard of you.
ALI: (pleased) So?
LAWRENCE: (indignation rising spontaneously) I had not heard you were a murderer.
ALI: (after a little pause. Quietly) You are angry, English.
LAWRENCE: He was my friend.
ALI: (looks at TAFAS) That? (looks at LAWRENCE)
LAWRENCE: Yes, that.
ALI raises his fine eyebrows, but politely refrains from comment.
LAWRENCE finds himself defending his humanitarian position, which makes him the more angry.
LAWRENCE: He was taking me to help Prince Feisal!
ALI: (mounts and calls back) He was a Hazami of the Beni Salem. The Beni Salem are blood enemies to the Harith. They may not drink at our wells. (shrugs) He knew that.
ALI raises his head in salute and turns his camel back on to the mud flat.
LAWRENCE: (calling after him) Sherif Ali! So long as the Arabs fight tribe against tribe, so long will they be a little people.
107)CLOSE UP. LAWRENCE, emphasizing every word.
LAWRENCE: A silly people! Greedy, barbarous and cruel - as you are!
ALI rides out of picture, leaving the screen filled with blue sky......

Note: Further dialog between LAWRENCE and ALI not in screenplay when LAWRENCE refuses ALI's offer to take him to Feisal's camp indicates that this may have been written on the location.
H) LAWRENCE, FARRAJ and DAUD. Akaba - From The Land! (The latter part of this scene was filmed and deleted)

176) MEDIUM SHOT. The stone lands at LAWRENCE's feet. At first he seems not to notice it, but then, without interrupting his concentration, he aimlessly picks up the stone, bounces it up and down in the palm of his hand, and walks slowly away. The IMPS get up and run out of picture.
DISSOLVE:
177) LONG SHOT. DAY. LAWRENCE is sitting under a stunted desert tree. One of the BOYS sits before him, the OTHER is busy behind him. Apart from this tiny group, the frame is completely empty, above, below, and to either side.
178) MEDIUM SHOT: The SAME. FARRAJ is hanging an odd piece of cloth in the branches so that LAWRENCE's head is shaded. Three or four yards in front of LAWRENCE, with his back to camera, sits DAUD - also cross-legged - watching him as he continues playing with the stone. FARRAJ comes and sits near to DAUD, so that LAWRENCE is framed between the backs of the two BOYS. The CAMERA starts to creep in towards LAWRENCE. The music, which has never stopped, builds up and up. LAWRENCE begins to hold the stone so tightly that his fist vibrates with the unconscious effort. He looks directly up at the two BOYS, but his eyes are focused on the distance and he is not really seeing them.
179) CLOSE UP. The IMPS stare back. They don't know why, but they are rather frightened.
180) CLOSE UP: LAWRENCE. The music stops. There is a pause.
LAWRENCE: (quietly) Akaba.
181) CLOSE UP: The two BOYS don't understand.
182) MEDIUM SHOT: LAWRENCE and the BOYS.
183) LAWRENCE: Akaba - from the land!
He comes to and chucks the stone at the BOYS. DAUD catches it, then looks up in surprise and points to LAWRENCE's hand. It is bleeding. LAWRENCE licks his palm mechanically, and above his hand we see his gaze is no longer inwards but outwards and actively excited. He gets to his feet. Exciting, whirling music begins. The CAMERA PANS and TRACKS with LAWRENCE as he walks away from the three. The two BOYS follow close behind. LAWRENCE walks faster and faster until he is running - as a man runs who has a specific destination. The music builds. The camp appears in the background and the run becomes a race. LAWRENCE disappears among the tents, and the BOYS put on a spurt but DAUD trips over a root and goes sprawling, and MUSIC stops when:
CUT TO:
184) CLOSE SHOT. ALI.
ALI: You are mad. To come to Akaba by land we should have to cross the Nefud...

I)Below is the unedited 'terrace' scene.
Part Two, pages 69 through 78:

203: MEDIUM SHOT. THE TERRACE outside ALLENBY'S OFFICE. LAWRENCE is seated in a chair. ALLENBY leaning against a pillar, his bottom on the terrace railing.
ALLENBY: ....Yes. Well you've had a glimpse of the pit.
LAWRENCE: No, a glimpse of sanity. (hard) And I'm not going back.
There is a short pause. LAWRENCE's eyes are on the General's epaulettes. ALLENBY notices the look, glances at his crown and crossed swords, and begins to unbutton his jacket.
ALLENBY: You won't go mad, Lawrence. (quite indifferently) You've got an iron mind.
LAWRENCE: (grimly) Oh no. (but he is pleased)
ALLENBY: Oh yes. And here's another thing. When you ask for "common humanity" you're crying for the moon. Common humanity's the one thing you can't have.
LAWRENCE: There's nothing else.
ALLENBY: (mildly) There is, for one man every hundred years or so.
LAWRENCE: (skeptical, but we can just see the poison beginning to work) Me?
ALLENBY: (taking off his jacket) Yes, I think so. (Again he is careful to keep his voice matter-of-fact, as this were some small technical judgement he had just made.)
ALLENBY puts his jacket over the back of an empty chair, and from this point on he adopts the tone used between equals and friends, and friends of such long standing that they can even afford to be brusque. He regards his jacket, chuckling a little ruefully.
ALLENBY: Isn't that funny, I feel quite naked.
He busies himself collecting cigar, cutter, matches from the table.
ALLENBY: And that's the difference. I'm a leader because someone pins crowns on me. Your'e a leader, (shrugs) because God made you one I suppose. There's nothing you can do about it.
ALLENBY sits and seems totally preoccupied with the condition of his cigar. LAWRENCE does nor answer but looks at him suspicious, flattered, comforted, above all longing to accept the paternal embrace that seems to be offered.
ALLENBY: (quite idly) You write poems don't you?
LAWRENCE: Yes.
ALLENBY: Any good?
LAWRENCE: No. Bad.
ALLENBY: (nods sympathetically) Hard luck.
LAWRENCE is a little amused and quite surprised by the degree of understanding ALLENBY assumes.
LAWRENCE: It's not a matter of luck.
ALLENBY: 'Course it is. (he settles back comfortably) I grow dahlias myself.
Apparently on impulse he takes from the table a photo of his house and offspring. He peers at it, pointing out a patch of cabbage flowers in the background.
ALLENBY: There.
Together they study the photo. ALLENBY never looks once at his victim, seems innocently absorbed in the subject of the conversation. He pauses as he replaces the photo, and smiles.
ALLENBY: That's my lad. You must come and see us, afterwards.
LAWRENCE: (he hesitates cautiously, but says) I'd like to.
And it is almost like a physical object he has handed to ALLENBY -- the keys of his citadel.
ALLENBY: I've got good soil, good compost, I buy good plants. And I'm a conscientious gardener. But I don't have the luck to be a good one. So (grins) I'm a gardening sort of general. Most generals are. But there have been poet generals. Xenophon was one. Hannibal ... Nelson was the last. I think you're another ...
LAWRENCE: (his tone skeptical but his smile tremulous and reproachful) Nelson, and me?
ALLENBY: Yes.
LAWRENCE: That's an extraordinary thing to say to a man.
ALLENBY: Not to an extraordinary man it isn't.
LAWRENCE: (thrusting it away from him) No. No.
ALLENBY: (remorselessly matter-of-fact) You must know it?
LAWRENCE: (almost desperately) No!
ALLENBY: (in his cunning adopts a tone of irritation) Look, Lawrence, I've taken those things off -- (rubs his shoulder) --and I don't feel happy without them. I believe your name will be a household word when you'd have to go to the War Museum to find who Allenby was.
He makes this statement very deliberate. His voice now becomes low, confidential, but very steady; it is temptation incarnate.
204 CLOSE UP. LAWRENCE
ALLENBY: (off) You are the most extraordinary man I ever met.
LAWRENCE: (quick and low) -- leave ne alone --
ALLENBY: (off) (quick and sharp) -- What?
LAWRENCE: (quick and low) -- Leave me alone.
205 CLOSE SHOT. ALLENBY over LAWRENCE. After a pause, ALLENBY shrugs, and the CAMERA PANS with him as he rises and moves away with feigned hostility, turning his back looking out over the garden, the very image of a disappointed father.
ALLENBY: That's a feeble thing to say. No wonder you're poetry's bad.
208 CLOSE UP. LAWRENCE looks at ALLENBY's back longingly. He hesitates and is lost. He prevaricates:
LAWRENCE: I know I'm not ordinary ...
ALLENBY: (off) (short) That's not what I'm saying.
Suddenly LAWRENCE's immobility flies apart. He is thrown about in his chair by muscular stresses -- much as a man might respond to a thumbscrew -- and he cries out:
LAWRENCE: All right I'm extraordinary! I'm extraordinary!
His tone in saying this is as though he were saying, "All right I've got cancer!" A tone of desperate lament ... But then abruptly having accepted it, he freezes again and looking at ALLENBY he says in a very different tone quietly mocking, from a superior knowledge.
LAWRENCE: What of it?
207 CLOSE UP. ALLENBY. He is now looking at LAWRENCE, but has not yet caught the reversal of their positions.
ALLENBY: (gravely and kindly) Not many people have a destiny. Lawrence. A terrible thing for a man, to funk it, if he has.
208 MEDIUM SHOT. ALLENBY walks back towards his chair.
LAWRENCE: (almost smiling with a little cold smile) Are you speaking from experience?
ALLENBY: (caught in mid-air -- he sits) No.
LAWRENCE: You're guessing then.
ALLENBY is nonplussed and begins to be uneasy. LAWRENCE says in a deadly voice.
LAWRENCE: Suppose you're wrong.
ALLENBY: (briskly scrambles over his unease) Why suppose that? We both know I'm right.
LAWRENCE: Yes.
ALLENBY: After all it's --
LAWRENCE interrupts him rising from his chair and walking a few paces along the terrace where he stands in an archway his back to the General.
LAWRENCE: I said, yes.
ALLENBY watches him, cautiously. He turns. He addresses ALLENBY quite politely but not looking at him, as though he were a subordinate.
LAWRENCE: April the 16th.
ALLENBY: Yes. Can you do it. I'll give you a lot of money.
LAWRENCE: (still not looking) Artillery?
ALLENBY: I can't.
LAWRENCE: (now looking at him) They won't be coming for money, the best of them. They'll be coming for Damascus. (very steadily) Which I'm going to give them.
209 CLOSE SHOT. ALLENBY looking up at LAWRENCE from his chair. He blinks, but recovers immediately.
ALLENBY: That's all I want.
210 CLOSE SHOT. LAWRENCE
LAWRENCE: All I want is someone holding down the Turkish Right. But I'm going to give them Damascus. We'll get there before you do. And when they've got it, they'll keep it.
211 CLOSE SHOT. ALLENBY
LAWRENCE: (off) You can tell the politicians to burn their bit of paper, now.
ALLENBY: (spuriously) Fair enough!
212 CLOSE SHOT. LAWRENCE. He looks away from ALLENBY and speaks almost idly, throwing his pearls for ALLENBY to pick up if he can.
LAWRENCE: "Fair". What's "fair" got to do with it? It's going to happen ... (looking at him again, quite brisk and matter-of-fact) I shall want quite a lot of money.
ALLENBY: All there is!
LAWRENCE: Not that much.
He leaves the courtyard and walks toward the CAMERA, looming up in the frame against the background of a fresco on the wall.
LAWRENCE: The best of them won't come for money.
He is now in BIG CLOSE UP. His lip quivers slightly and his eyes glow.
LAWRENCE: They'll come for me ...

 

[Robert Harris]

https://www.nytimes.com/2018/09/27/movies/bradley-cooper-a-star-is-born.html

 

[Stephen PI]

Around the same time that I did the script extracts from "LAWRENCE", I started a similar project on "DOCTOR ZHIVAGO". I own the published screenplay of the film. I started going through it, comparing it to the finished film. Unfortunately I only got so far and the IMDB removed it, I think as a result of their new management a few years ago.
One day I hope to finish it but I thought I would put it up here. Not quite sure what scenes were shot and then cut before the US Premiere and then revised shortly afterwards:


The first deleted scene takes place after the scene in young Yuri's bedroom. Yefgraf's (Guinness) line "The Gromeko's didn't know what to make of him" was added to smooth over the transition:

MONASTERY CELL / NIGHT (YURI'S BEDROOM)
ANNA: (brightly) Well. Say good night to Yuri, Tonya. TONYA goes to him. Gravely they kiss cheeks: she, with sly tenderness, he with cold courtesy.
On Sound: (ANNA) He's your brother now... TONYA leaves him. He settles back. (ANNA, rather hopelessly) Good night, Yuri.
ALEXANDER: (Sympathetically robust) Good night, old chap.
YURI: (Inexpressibly) Good Night.
On Sound, the door closes. YURI turns his head to look at the balalaika, a magnificent thing of polished wood and mother-of-pearl.
On Sound, we hear it 'play' softly, then the music grows stronger until it is full, a virtuoso of strings.
YURI frowns, gets out of bed, cutting off the music. He kneels, eyes firmly closed, hands correctly together.
YURI: Dear God and my Holy Guardian Angel, keep me in the path of truth... And please tell Mother not to worry.Please tell her that I like the Gromeko's very much... Please don't let her worry. For our Savior's sake. Amen.
He nips back into bed and burrows shivering beneath the coverings as the sound of the howling wind outside the monastery walls fills the sound track.

EXTERIOR Graveyard / Winter / Night
A larger round wreath, it's laurels clogged with snow, falls over and bowls tipsily away from the grave.

Monastery Cell / Night
Through the window we see YURI coming towards us. He climbs up on the trunk beneath the window and presses his face against the cold glass, wide-eyed but horrified.

INTERIOR Hut / Day
GIRL seems to be staring back at YEFGRAF with sympathetic understanding. The moan of the blizzard fades to silence. YEFGRAF, standing now, seeing her expression, smiles a little.
YEFGRAF: (As though to comfort her) I don't know that he missed his mother. I don't think children that age do.
GIRL: (Very seriously, and rather as though in defense of YURI) I did.
YEFGRAV: (Almost harshly) That was different. You were a child of the Revolution. You had nothing. He had, the Gromekos. (Dryly) Good liberal bourgeois. (He speaks quickly, rather bitterly but now translating for her with a faint sardonic smile) Good people, who turned away from anything unpleasant. You know?
GIRL: I know (She says it calmly, almost in reproof of his sarcasm. Evidently her tolerance extends further than his; perhaps she has some sympathy with people who turn away from things unpleasant. Then, struck by a thought) What about his father?
There is a short silence before he answers.
YEFGRAF: My father too. By a different mother. My mother was a peasant. You can see that... He was a product of his class and time, a selfish, dissipated, miserable man. He committed suicide by jumping from a train... I don't know where or when.

EXTERIOR Gromeko Country House / Summer / Day
We see a grass bank with sky behind it. Someone climbs into view and stands on the bank, looking across the open country. It is the boy YURI now eighteen months older.

EXTERIOR Railway / Summer / Day
He sees a gently undulating summer landscape. In the distance a train stands motionless in the middle of nowhere, a needle of white steam ascending from the engine.

EXTERIOR Gromeko Country House / Summer / Day
We now see that the bank on which YURI stands in the foreground forms the boundary of a well-kept lawn on which ANNA is serving tea. ALEXANDER and TONYA sit at a table, elegantly alfresco. A clumsy-looking MUJIK waits to help serve. We glimpse the GROMEKOS' modest and charming house.
YURI: The Trans-Siberian has stopped.
ANNA: (Following his gaze) So it has. (She isn't really interested, but we see that she has fallen under YURI's sway; whatever he says will interest her. Pouring milk into ALEXANDER's coffee) How very odd, Alexey; the Trans-Siberian has stopped.
ANNA sits next to ALEXANDER who, reading a newspaper, declines to be interested.
ALEXANDER: That isn't odd, that's typical. They've probably let the fire go out.
TONYA, drinking milk, a milk moustache on her upper lip, giggles. Her father smiles at her.
ALEXANDER: My only audience.
These two are very close. ANNA smiles a matchmaking smile at her daughter.
ANNA: Yuri, come and drink your milk.
YURI reluctantly moves towards them.


EXTERIOR Railway / Summer / Day
The train stands in the midst of a level summer field where a number of cows are grazing. The engine sends up a sibilant pillar of steam.
All along the train the doors hang open and the passengers and train officials (Including dining-car attendants) have alighted. They have obviously been here for sometime. Some are lying down, some have actually gone into the fields and are picking flowers. The atmosphere is lethargic; it is very hot.
A train GUARD passes quickly through the crowd. He is rough with the third class ("Mind Away"), respectful with the first ("Pardon, sir. Excuse me, madam"). He comes to a Pullman car, stops, whips off his hat, and coughs, looking up deferentially.
In foreground an elderly ARISTOCRAT is reading a book. He looks down at the GUARD outside the window languidly.
ARISTOCRAT: Oh there you are, guard. Isn't it time we got under way?
GUARD: Immediately, Your Highness.
ARISTOCRAT: I should like that, guard.
If the tone is languid, the eye is cold. He returns to his book and the GUARD, looking flustered, wheels about, rams on his hat and blows his whistle furiously. The engine responds with a shriek. The effect is galvanic. People run in from the fields and a general commotion starts along the entire embankment. The engine shrieks again. Third-class passengers pile pell-mell and noisily into their crowded and primitive carriage. First-class passengers, helped by train attendants, ascend into their well-appointed compartments.
Still blowing his whistle, the GUARD pushes through a crowd of milling third-class passengers at the rear of the train. He finally emerges on the rear platform of the last coach. A small flat wagon stands on the rails, a curious object with levers on it. Beyond it, the railway track stretches to the horizon through peaceful open countryside. Behind the wagon stand two railwaymen, before it a rustic OFFICIAL.
GUARD: (Blustering) I can't wait any longer!
OFFICIAL: (Equable) Very well, brother.
He flips shut a notebook and nods to railwaymen.
The GUARD watches with unwilling fascination as railwaymen stoop, seize something, lift it, and dump a dead man's body on the wagon, face down, in foreground of picture. It's clothes are good but now torn and dirtied. Beside it are some personal effects including a briefcase, an overcoat, and a trunk with the initials "V.I.K." in Russian lettering.
On Sound: (OFFICIAL) Now, sir.
Someone only visible from the waist down comes into view and mounts the wagon. Fine shiny shoes, neat black trousers.
On Sound: (KOMAROVSKY) Caesar!
One of the railwaymen stoops and heaves on to the wagon a massive red bulldog. KOMAROVSKY stands on the wagon. He has a scowling powerful face, quick intelligent eyes; a meat-eater, a clubman. His waistcoat reveals a fine linen shirt, open at the neck; he mops at his neck and armpits savagely with a white handkerchief.
The locomotive shrieks impatiently. The GUARD goes without a word. The railwaymen and the OFFICIAL are looking up at KOMAROVSKY, who has fallen unconsciously into the pose of a conqueror triumphantly astride the corpse which, needless to say, he utterly ignores.
KOMAROVSKY: Well, are we going?
OFFICIAL: (Hastily) Yes, sir.
OFFICIAL suits the action to the word, climbing aboard and signaling brusquely to the two railwaymen. The GUARD waves his flag from the back of the train. There is another piercing whistle from the engine and it starts off.
The railwaymen run the wagon along the rails, hop on expertly, and begin to work the pumps. KOMAROVSKY sits on a trunk, selects a cigar from a handsome leather case and carefully lights it. The OFFICIAL opens his book and begins his interrogation again.
OFFICIAL: Now, your Honor. His name was--
KOMAROVSKY: His name was--Zhivago!
OFFICIAL: Zhivago... Dear, dear. And he hurried off to meet his Maker at--
He pulls out a clumsy gunmetal watch.
KOMAROVSKY: He may have hurried off to meet his Maker or he may have fallen out--I tell you he was drunk!
OFFICIAL: (Uneasy) I see... I see... (But he doesn't write)
KOMAROVSKY: Then put it down!
OFFICIAL: Your Honor understands, I have to... (He waves his book helplessly) The gentleman was traveling first class.
KOMAROVSKY pulls himself together. His manner changes from exasperation to the curtly authoritative.
KOMAROVSKY: I know all about your duties, my man. I am a lawyer. My name (Producing a card) is Komarovsky.
The card, printed in Russian, fills the screen.

INTERIOR Hut / Day
GIRL: (Looking startled, even hostile) Komarovsky... My father?
YEVGRAF: (A pause, flatly) A man, called Komarovsky.

EXTERIOR Railway / Day
The card again is seen. On Sound: (KOMAROVSKY) You may know of me.
OFFICIAL: (Obsequious now) Oh Yes, Your Excellency, I-- (Writing and nodding) Your Excellency was traveling with him.
KOMAROVSKY: (Wiping his neck again) I was traveling with him.
OFFICIAL: In what capacity, Your Excellency?
KOMAROVSKY: (Looking thoughtful, cautious) Business associate.
OFFICIAL: (Glancing at him) And he was definitely drunk.
KOMAROVSKY: He'd been drunk for a year. Get out, you brute!
He aims a kick at the dog which is snuffling at the corpse so that one of its arms has slipped from beneath the coat and is now dangling stiffly from the side of the wagon.
OFFICIAL: Dear, dear. Now, the gentleman's next-of-kin.
KOMAROVSKY: Wife: dead. Children: any number. One legitimate. God knows where he is...
On Sound: (YEVGRAF) That was Yuri.
The wagon draws away from us, the dead man's arm swaying gently. YEFGRAF, On Sound, his voice grown reminiscent: (YEFGRAF) I was... one of the others. He was probably in France at that time of year--

EXTERIOR Gromeko Country House / Day
YURI is in the foreground, as before, but now he, too, has a milk moustache, and holds an empty glass. The GROMEKOS are grouped around the table in the background. On Sound: (YEFGRAF) The Gromekos knew all the polite parts of the world.
We see as YURI does the little wagon crawling, beetle-like, along the distant line. On Sound: (ANNA) Yuri!
Unhearing YURI continues to stare off at the distant wagon. On Sound: ALEXANDER's gentle voice: (ALEXANDER) Yuri! What are you looking at now, old chap?
YURI speaks so quietly that he appears to be talking to himself; but it is only the relative quietness that makes it seem so. He is not posturing.
YURI: I don't know.

INTERIOR Hospital / Lecture Room / Winter / Snow / Day
The screen is filled with a luminous pattern which shifts and pulses like the play of light in some magical jungle. Then we see YURI, now in his early twenties, bent over a microscope. On Sound: (YEFGRAF) By the time he was twenty he made himself a reputation as a poet. But he said that poetry was no more a vocation than good eyesight.
YURI lifts his head from the microscope. He looks abstracted but pleased as well. On Sound: (MEDICAL PROFESSOR) Pretty?
YURI: Very.

2) EXTERIOR Gromeko Street / Winter / Snow / Day
A tram hissing and grinding, lurches into motion. It passes away from us along a busy street.
YURI, with his cap on now, is walking along the pavement. He looks ahead and sees the tram moving away slowly but accelerating.
YURI quickens his pace, then snatches off his cap and sprints after the tram. The CONDUCTOR is in foreground, YURI in the background as he gains on the tram and finally jumps aboard, breathless.
CONDUCTOR: You shouldn't do it, sir; you shouldn't do it.
YURI grins at him a bit sheepishly, passes in.
CONDUCTOR: There are lots of other trams.
LARA, seventeen years old and in a schoolgirl's uniform, but recognizably the LARA of the photograph, is aboard the tram.
Beside her is the only vacant place, her satchel on it. She is looking out of the window when YURI approaches from behind, breathless from his run. As he is about to reach her the man in the gangway seat immediately behind her rises, pushes past YURI and goes. YURI sinks gratefully into his seat, glances at the back of her head, settles down looking straight ahead. LARA turns slowly from the window and looks ahead too. The tram's power pick-up hisses along the wire, crackling and sparking when it passes a joint. YURI and LARA sway gently to the motion of the tram, both looking ahead. YURI turns and looks out of the window.
LARA idly turns her head to look out again as well so they are both in profile, both seeing the anonymous crowds going about their business.
YURI turns and looks out of the window on the far side, so they are now looking in opposite directions. LARA turns to collect her things and rises slinging her satchel. Now surely he must notice her. But just as she passes, the woman in the window seat next to YURI indicates that she wants to get out. YURI rises for her. As she leaves, she obscures LARA. YURI again resumes his seat as the tram begins to slow. LARA alights while the tram is still moving. CONDUCTOR, shaking his head with disapproval, gives two rings on his bell. As the tram regathers speed, bearing YURI away, LARA crosses the street diagonally towards a side turning. We follow LARA for a few paces. She makes a sharp turn down a side street leading to a poorer district.
A moment later, YURI in his turn jumps off the still-moving tram.

NOTE: From this point up until TONYA's arrival the film goes through some restructuring, scenes switched, dialogue removed or rewritten etc.

continued....
In this version (published screenplay) the scene at the GROMEKO LIBRARY where YURI's Aunt ANNA gives him the letter, announcing TONYA's return, was originally in this location. Following the tram scene we stay with LARA where she meets PASHA. The scene between YURI and ANNA now follows this.

3) INTERIOR Amelia's hallway and Dressmaking establishment / Day / Winter (following the YURI / ANNA scene)
(A brief exchange between LARA and KOMAROVSKY was dropped).
LARA works at her school books in the workshop. Night has fallen. On Sound, the distant shunting noises from a marshaling yard and the soft hiss of a gas lamp burning on the wall. Behind her the door to the living-quarters is shut. It opens.
KOMAROVSKY comes out, carrying hat and coat.
KOMAROVSKY: (softly) Tuesday, if I can, my dear. Good night.
LARA is aware of his presence, but goes on working. He approaches, so that we see him from the waist down.
KOMAROVSKY: (patronizing) What's this then . . . ? Diderot! The French Enlightenment! What things they teach to children nowadays. Will you let me out?
LARA: Yes Monsieur.
She rises and goes for the key, which hangs on a hook. KOMAROVSKY picks up PASHA's pamphlet.
KOMAROVSKY: (In a quite different voice) Now where did you get this?......

4) Following the dialog between LARA and KOMAROVSKY, the scene dissolves to the DRESSMAKING ESTABLISHMENT where the sick AMELIA sits with a thermometer in her mouth. Originally there were two scenes here, one, the dialog between YURI, ANNA and ALEXANDER on the balcony, which was relocated and, two, a scene in the GROMEKO LIBRARY.....

INTERIOR Gromeko Library / Night
ALEXANDER sits ANNA in a chair as YURI enters from the balcony and shuts windows.
ANNA: Am I very ill then, little husband?
ALEXANDER looks shifty. He turns his back to fiddle needlessly with the fire.
ALEXANDER: (With simulated irritability) I don't know how ill you are . . .
She smiles at his back lovingly, turns to YURI.
ANNA: It's impressive, isn't it?
YURI: (thoughtful) Yes it is . . . I wonder why the police allowed it.
ALEXANDER (Genuinely irritated now) I don't know why you advanced people make such villains of the police. They're there to maintain law and order.
ANNA: They're there to maintain you in comfort!
ALEXANDER: Well, I like comfort.
ANNA: Oh! Oh! Professor Alexander Gromeko is ---
She coughs continuously. They are alarmed. She waves them away, coughing. ALEXANDER starts out of the room.
ANNA: (After him)---is a peasant.
She lies back, white, eyes shut. YURI quietly takes her pulse. (This has happened many times before). A pause.
ANNA: What's the matter with me, Yuri?
YURI: (Hesitates, then gently, definitely) You know.
ANNA: (Opens her eyes) Yes. Clever boy. (Breathing is difficult) Tonya is coming home tomorrow. (No response from YURI) I hope they haven't spoiled her at that silly school.
YURI: Shouldn't think so.
ANNA: Lovely girl, Tonya.
YURI: Lovely.
ANNA: If I give you a wish, what will you wish?
YURI: I don't want a wish.
ANNA: I give you a Wish. Wish!
YURI: (Making light of it) I wish . . . (His eyes wander) I wish I could play the balalaika.
ANNA: (Pushes his hand away, angrily) Can't play balalaika! Too clumsy!... Not like mother...
YURI: (Rising) No.
ALEXANDER stands at the door holding a glass and bottle. He coughs discreetly and comes forward. ANNA looks resentfully, wistfully, after YURI, who moves towards the window.
ANNA: Seems clever, but clumsy.
ALEXANDER enters and puts a glass on a low table by her, uncorking the bottle.
ALEXANDER: (Softly) If they're meant to marry, they'll marry.
As if in answer there is the sound of a hoarse command from outside. ANNA and ALEXANDER look apprehensively towards YURI. He parts the curtain and looks through at the street. The procession has gone. A troop of dragoons cross the main street and disappear down a side turning.
On Sound: ANNA: What is it?
YURI: Dragoons.

5) INTERIOR Dressmaking Establishment / Night / Winter
(This scene contains deleted and changed dialog)
Inside AMELIA's apartment we see KOMAROVSKY elegantly attired in evening dress. Opposite him stands LARA in an evening gown.
It is suitable for her age but still, an evening gown. Between them sits AMELIA, also in an evening gown, but with a thermometer in her mouth. She is pale, with beads of perspiration on her forehead. She rolls her eyes remorsefully from one to the other. KOMAROVSKY makes little effort to hide his irritation. LARA is concerned. No one speaks. In the silence a train passes nearby. KOMAROVSKY shifts his weight and coughs. LARA takes the thermometer.
LARA: A hundred and three.
AMELIA: (Thick of speech) Oh what a pity! I was looking forward to it! Never mind--I'll be alright here. You will take Lara, won't you, Victor Yppolitovich?
LARA appears confused. On Sound: (AMELIA) Too selfish of her silly mother--it's her first long gown, see-- (Sneezes) Oh my goodness.
KOMAROVSKY, who has been staring at his feet, looks up.
KOMAROVSKY: I think it would be better to call it off.
LARA: (Hastily) Yes, I'll stay with you.
AMELIA: What nonsense! I'll be perfectly alright--I've got a book, see? (Wheedling) Such a disappointment for her, Victor Yppolitovich.
KOMAROVSKY: Very well. Yes, delighted. (Glances at his watch) We're late, if we're going.
LARA, with a little frown of fear, goes quickly through the door to her mother's bedroom. LARA hurries through the tiny room to her own. AMELIA's voice (On Sound) trails away behind her. (AMELIA) Very good of you, dear. So little opportunity to mix in good society. You'll find her...
In her own bedroom LARA, a bit breathless, puts on her school coat, sees herself in a mirror, half raises one hand to her face, thinks better of it, goes back through the door all in one flutter of movement, to find KOMAROVSKY and AMELIA as before.
AMELIA: (Sadly) . . . not been able to give her any advantages. (Seeing LARA enter, brisk) There then. Now, good night.
KOMAROVSKY: Good night, my dear. (He kisses her).
LARA watches the kiss impassively and when KOMAROVSKY leaves she stoops and kisses AMELIA.
LARA: You're--
AMELIA: Yes yes. Don't dawdle!
KOMAROVSKY is waiting in the darkened workroom. LARA comes out, takes the key from the hook and we follow their backs as she leads the way. We can hardly see them in the darkened room and their voices echo.
KOMAROVSKY: (Embarrassed, abrupt) Haven't you got a better coat than that?
LARA: (Softly, ashamed) No, Monsieur.
KOMAROVSKY: We're going to be late. I want to avoid Kropotkin Street.
They walk away from the fitting-room to the glass-paneled door.

CUT TO: EXTERIOR Moscow Square / Night / Winter / Snow
Several processions converge on a vast crowd already assembled about a sprawling Victorian monument. In the foreground a monstrous lion, gilded railings and a chocolate toy soldier sentry guard palatial gates.
PASHA climbs the monument and is greeted by other leaders, workers and professed intellectuals. Introductions are made, after which he looks with satisfaction over the sea of faces spread out before him.

NOTE: In the original screenplay we then cut to KOMAROVSKY and LARA arriving at the Restaurant/Cafe.