Mention Hollywood epics and one of the first films that comes to mind is Lawrence of Arabia. AFI named it Number One on its “EPICS” top ten and it appears on every other list for which it qualifies. It is the standard by which all are measured, but when one looks closer, it should have been doomed to failure simply by the sum of its contrasting and disparate parts.
When the critically-acclaimed box office hit, Bridge On the River Kwai, won seven of the eight Oscars for which it was nominated, producer Sam Spiegel offered director David Lean carte blancheand told him to name a project – any project – that he wanted to film. The result was about as far from your standard Hollywood epic as you could get.
There had been several previous failed attempts to get T.E. Lawrence’s Seven Pillars of Wisdom onto the big screen. There would be no romantic interest – in fact, there would be no female roles. There would be few action sequences during the three hour-plus running time and the protagonist, to be played by an unknown, was based on an enigma of a man who dies at the beginning of the film. To top it off, the film would have a decidedly existential tone, go for the gist of events rather than get mired down in historical facts and characters, and suggest a slightly dark (to 1962 audiences) psychosexual bent anchoring the main character. Heady stuff from a someone who was an unfocused school drop-out who didn’t direct his first film until he was in his mid-30s after working his way up from clapper boy to editor to director. David Lean was aiming for the Intimate Epic.
Steve Schweighofer is found on Twitter @banjoonthecrag
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