Lawrence of Arabia

In David Lean’s masterful “desert classic,” Peter O’Toole gives a star-making performance as T.E. Lawrence, the eccentric British officer who united the desert tribes of Arabia against the Turks during World War I. Lean orchestrates sweeping battle sequences and breathtaking action, but the film is really about the adventures and trials that transform Lawrence into a legendary man of the desert. Lean traces this transformation on a vast canvas of awesome physicality; no other movie has captured the expanse of the desert with such scope and grandeur. Equally important is the psychology of Lawrence, who remains an enigma even as we grasp his identification with the desert. Perhaps the greatest triumph of this landmark film is that Lean has conveyed the romance, danger, and allure of the desert with such physical and emotional power. It’s a film about a man who leads one life but is irresistibly drawn to another, where his greatness and mystery are allowed to flourish in equal measure. –Jeff Shannon

The Bridge on the River Kwai

Director David Lean’s masterful 1957 realization of Pierre Boulle’s novel remains a benchmark for war films, and a deeply absorbing movie by any standard–like most of Lean’s canon, The Bridge on the River Kwai achieves a richness in theme, narrative, and characterization that transcends genre. The story centers on a Japanese prison camp isolated deep in the jungles of Southeast Asia, where the remorseless Colonel Saito (Sessue Hayakawa) has been charged with building a vitally important railway bridge. His clash of wills with a British prisoner, the charismatic Colonel Nicholson (Alec Guinness), escalates into a duel of honor, Nicholson defying his captor’s demands to win concessions for his troops. How the two officers reach a compromise, and Nicholson becomes obsessed with building that bridge, provides the story’s thematic spine; the parallel movement of a team of commandos dispatched to stop the project, led by a British major (Jack Hawkins) and guided by an American escapee (William Holden), supplies the story’s suspense and forward momentum. Shot on location in Sri Lanka, Kwai moves with a careful, even deliberate pace that survivors of latter-day, high-concept blockbusters might find lulling–Lean doesn’t pander to attention deficit disorders with an explosion every 15 minutes. Instead, he guides us toward the intersection of the two plots, accruing remarkable character details through extraordinary performances. Hayakawa’s cruel camp commander is gradually revealed as a victim of his own sense of honor, Holden’s callow opportunist proves heroic without softening his nihilistic edge, and Guinness (who won a Best Actor Oscar, one of the production’s seven wins) disappears as only he can into Nicholson’s brittle, duty-driven, delusional psychosis. His final glimpse of self-knowledge remains an astonishing moment–story, character, and image coalescing with explosive impact. –Sam Sutherland

A Passage to India

This adaptation of E.M. Forster’s mysterious tale of British racism in colonial India turned out to be master director David Lean’s final film. Subtle and grand at the same time, Lean’s adaptation is faithful to the book, rendering its blend of the mystical and the all-too human with exquisite precision. Judy Davis plays a young British woman traveling in India with her fiancé’s mother. While visiting a tourist attraction, she has a frightening moment in a cave–one that she eventually spins from an instant of mental meltdown into a tale of a physical attack that ruins several lives. Lean captures Forster’s sense of awe at the kind of ageless wisdom and inexplicable phenomena to be encountered in India, as well as the British tendency to dismiss it all as savage, rather than simply different. –Marshall Fine

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David Lean was the son of strict Quaker parents and did not see his first film until aged 17. He began his film career in 1928 as a teaboy for Gaumont-British studios, where he soon was promoted to clapboard boy, and finally to editor – a position at which he excelled. By the end of the 1930s Lean was the most highly-paid film editor working in British cinema and widely regarded as the best.

As a director, David Lean’s first intention was always to tell a story, few directors were as able to convey the spirit of place in film. Surprising the audience was very important to David Lean, whether it was Pip rushing straight into Magwitch in the graveyard in Great Expectations or Harold Hobson drunkenly pursuing the moon in a puddle in Hobson’s Choice, Lean conjured up image after image to amaze, amuse, move or excite his audience. the collection comprises The Sound Barrier, Hobson’s Choice, Blithe Spirit, Brief Encounter, Great Expectations, Oliver Twist, Madeleine, The Passionate Friends, This Happy Breed and In Which We Serve.

Special Features: Collectors’ guide.

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