When I was in my teens,
Lawrence Of Arabia opened in Phoenix, Arizona, and I went with my parents. It was a swanky theatre with 70mm projection and stereophonic sound, and the loge-style seating in the smoking section would rock back and forward as you sat back in your chairs. But
Lawrence Of Arabia never gave me the chance to test how the chairs worked, as I sat bolt upright for the entire film. Then came the scene as Lawrence and Sherif Ali and 50 other true believers cross the Nefud desert.
It was a prolonged sequence through every variety of arid landscape, much like the desert that surrounded that hometown Phoenix audience. That desert crossing cast a spell on me. Yet the first thing I noticed was how quiet the audience was and how few cigarettes were being lit as the sun bore down on the riders, most notably Gasim, who had fallen off his camel in the night and was trekking toward the rising furnace of a sun. Lawrence, risking everything, rides back for him as the sun grow
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