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The story of T.E. Lawrence, the English officer who successfully united and led the diverse, often warring, Arab tribes during World War I in order to fight the Turks.
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1 a+ Z8 Y o: s- W. X2 W◎译 名 阿拉伯的劳伦斯/沙漠枭雄(港)/阿拉伯的罗伦斯) z* K8 t" o( b6 G6 S% \ v
◎片 名 Lawrence of Arabia
; J% k7 z9 d7 ]8 i◎年 代 1962) _' {# e6 [. N: p% `
◎产 地 英国/美国
: k2 E+ T% J7 ~- l$ ]4 U◎类 别 剧情/传记/冒险. j* t- l& J; ?
◎语 言 英语/阿拉伯语/土耳其语
" G" h) q" i7 _* Z, N' J7 P) P+ n" [◎上映日期 1962-12-10(英国)
, t' t, L6 H2 d◎IMDb评分 8.3/10 from 258,955 users: ^- `# W1 n S; j- F
◎IMDb链接 https://www.imdb.com/title/tt0056172/
, w% f1 c9 r: h- Y◎豆瓣评分 8.7/10 from 35,628 users! f6 W/ _/ W8 k" I( q
◎豆瓣链接 https://movie.douban.com/subject/1292349/, s& |1 d% d& W: b: }. v& ~9 t
◎文件格式 x265 + TrueHD 5 x% R/ d7 w1 ?
◎视频尺寸 3840 x 21602 |: o, b% I) x/ C0 K: c# c
◎文件大小 2DVD 77.98 GiB & 49.53 GiB
5 O2 B- X- C5 F5 |. f/ I; g; i9 a◎片 长 2:19:23.354 (h:m:s.ms)2 W8 \6 ], J. \* N# Y& ~& U8 ]
◎导 演 大卫·里恩 David Lean
% _+ {( w2 b$ L4 }◎编 剧 T·E·劳伦斯 T.E. Lawrence
* H( V. [. V% ^3 k% G+ c: Y 罗伯特·鲍特 Robert Bolt 1 l0 `/ F; Y6 L# X+ Y$ @; ^
迈克尔·威尔逊 Michael Wilson
* a, z3 L& R2 ?. o6 _ J% n4 J◎主 演 彼得·奥图尔 Peter O'Toole! O; q2 L: N+ F% I6 y% I( d* h
亚利克·基尼斯 Alec Guinness: f: Y5 w% d5 M0 ^6 l& P) L
安东尼·奎恩 Anthony Quinn* `9 j3 S- j. x( O6 }
杰克·霍金斯 Jack Hawkins1 O0 c- A+ g5 I6 W& Y" @
奥马尔·沙里夫 Omar Sharif
/ G# O% c; C( u: O5 s$ q 何塞·费勒 José Ferrer
+ g4 Y; v: P8 Q z 安东尼·奎尔 Anthony Quayle
7 y9 @; \7 d1 h4 ]5 ~ 克劳德·雷恩斯 Claude Rains7 K7 Z, d# x1 o7 @
阿瑟·肯尼迪 Arthur Kennedy& \5 L( Y- B# V3 C* M
唐纳德·沃尔菲 Donald Wolfit
C; m. n9 e, i1 a7 r, x I·S·乔哈尔 I.S. Johar
! o; I9 P4 h$ Y3 l+ ^7 K: x 米歇尔·雷 Michel Ray
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◎标 签 英国 | 史诗 | 战争 | 传记 | 经典 | 历史 | 1962 | 奥斯卡4 | z) K. U% A9 d3 ^) p
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1916年,阿拉伯大起义爆发。 英军中尉 Lawrence(Peter O'Toole 饰)受命登上阿拉伯半岛之后,决定带领阿拉伯人夺取亚喀巴。在穿越沙漠的过程中, Lawrence 力排众议孤身返回搭救了失踪的 Gasim(I.S. Johar 饰)。此举赢得了众人的尊敬,Ali ibn el Kharish(Omar Sharif 饰)沙里夫甚至让 Lawrence 换上了沙里夫的长袍,而 Lawrence 也欣然接受。可是阿拉伯部落间并不和睦,Harith 部的 Gasim 杀了 Howeitat 部的人,双方剑拔弩张。为了平息争端,Lawrence 亲手处决了 Gasim,而杀人的快感却让 Lawrence 感到不安。成功夺取亚喀巴之后,Lawrence 驼不停蹄地穿越西奈半岛回到开罗。Allenby(Jack Hawkins 饰)将军大喜过望,升 Lawrence 为少校,对其寄予厚望……* d$ U( {8 V; E7 n
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Due to his knowledge of the native Bedouin tribes, British Lieutenant T.E. Lawrence (Peter O'Toole) is sent to Arabia to find Prince Faisal (Alec Guinness) and serve as a liaison between the Arabs and the British in their fight against the Turks. With the aid of native Sherif Ali (Omar Sharif), Lawrence rebels against the orders of his superior officer and strikes out on a daring camel journey across the harsh desert to attack a well-guarded Turkish port.0 }, |3 \' L( d# L! `! T( ^
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◎获奖情况
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第35届奥斯卡金像奖(1963)
! r5 k3 j8 K$ T; d$ b" @ 最佳影片 萨姆·斯皮格尔! T! M/ _$ r* x7 w6 n
最佳导演 大卫·里恩
$ ^! D- s n; q9 ? Q, [6 G 最佳男主角(提名) 彼得·奥图尔0 X2 ?* w) M) i F# o% h7 w# {
最佳男配角(提名) 奥马尔·沙里夫+ O& K" y( {2 P3 Y
最佳改编剧本(提名) 迈克尔·威尔逊 / 罗伯特·鲍特6 S }( I4 _1 p- o' e0 I# f) `
彩色片最佳摄影 弗雷迪·扬
4 }* j- S& c: U3 i; s 最佳剪辑 安妮·考特斯
2 o3 n0 T* \2 j9 w5 R( d/ V7 b 最佳音响 John Cox4 ~0 c# {+ B0 ?8 L' Q$ ?" n% G: n1 a
彩色片最佳艺术指导和布景 John Box / John Stoll / Dario Simoni1 x( q/ T6 e4 M. A, d) C" k2 i3 ?
最佳配乐 莫里斯·雅尔
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第20届金球奖(1963)8 a/ N7 m' p4 D' P% S, \/ p
电影类 最佳剧情片
' Z# l7 D: R# E 电影类 最佳导演 大卫·里恩
6 I# Q8 L% Z- d9 P, Q 电影类 剧情片最佳男主角(提名) 彼得·奥图尔 / 安东尼·奎恩& j/ v2 h; f2 ~# Z' [/ l( l
电影类 最佳男配角 奥马尔·沙里夫
( r0 O$ P" c& ^) R& ?; }9 n0 M 电影类 最佳原创配乐(提名) 莫里斯·雅尔
1 v& B7 a0 E+ R/ T/ u 电影类 彩色片最佳摄影 弗雷迪·扬* U1 [$ K# i! [' I( F
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复制代码 Lawrence of Arabia 4K Blu-ray, Video Quality * \. k/ @: O4 q3 S; P) k8 k9 L+ a5 g
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The included screenshots are sourced from a 1080p Blu-ray disc.
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5 H) s' ~2 H/ f( T2 ]$ _For its UHD release, Lawrence of Arabia has been split between two discs: part one runs 2:19:23 and part two 1:27:38. Sony's 2160p/Dolby Vision UHD is every bit the filmic wonder one expects it to be, that the film needs to be. It's difficult to imagine the film ever looking any better than this. Sony's presentation practically defies written definition; it truly must be seen to be believed. But in the interest of spelling out the essentials of what makes it so special, it all begins with that vital grain structure, which flows freely and with even distribution. It's not simply complimentary, it's a key defining feature and a significant portion of what makes this image an instant classic. Its consistency is vital, its composition exacting, its splendor unmatched. The fine detailing within the image is breathtaking. Clarity far exceeds, and is unmatched by, any previous home video version, even the outstanding 2012 Blu-ray. It's simply resplendent. "Sharp" barely begins to describe, it, "intricate" cannot fully report on the clarity of even the fine sandy and pebbly terrains. For essential textures such as faces and clothes, it goes without saying that Sony's image is first-rate. In any light -- even in difficult day-for-night shots -- there's a superb level of definition to essential skin and clothing lines, and that so many are war-weary and caked over with sand and dust and marked by sweat and frays only add to the splendor. Practically every shot leaps off the screen with razor sharpness. This extends even to the wide vistas and broad shots of both serene majesty and raging battle. The UHD is a sight to be hold, and the Dolby Vision color grading only betters it.
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, J" N) H) W2 o4 k- ?, hTones are full and resplendent. Accuracy is unmatched. As the image deepens colors compared to the Blu-ray it seems to find their fullest life. Look at Dryden's gray suit in the opening minutes; the color depth adds are striking as it transitions from flat and bleak to fully saturated and impeccably dense and deep on UHD. Of course the movie is largely defined by earthy beiges and browns, both in describing the sandy desert locations and the various military uniforms. These colors find a new level of excellence, not reimagined by any means but solidified with a genuine saturation and contrast that flatters the material. Blue skies are amongst the revelations. Here they are intensely bright and bold, leaving the Blu-ray looking flatter and more lifeless. White garments shine with newfound crispness and vitality. Black levels are likewise improved with perfectly balanced depth and shadow detail. Skin tones are firm and reflective of individual composition as well as influencing lighting and other elements, like caked-on sweat and dust. There are no print blotches or encode issues to report.
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Make no mistake, the 2012 Blu-ray still holds its own as one of the finest on that format, but this UHD is something else. It's transformative in all the best ways, a picture-perfect breath-taker that is as expected: a new reference image for the UHD format and proof of physical media's viability, and necessity, in delivering an epic in the most perfect way possible. The only downside to this reviewer's experience, beyond a technical hiccup around the 20:10 mark on disc two which fixed itself upon rewind/playback, was watching on a 65" screen. It demands to be seen big and bold, both the film and its UHD. Yet even on a relatively "small" screen, what an experience! Movie making and movie watching don't get any better.+ z! ]3 w3 b4 x6 i
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Lawrence of Arabia 4K Blu-ray, Audio Quality
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Lawrence of Arabia features a Dolby Atmos soundtrack, and what a wonderful presentation it is. To open, the musical richness and fullness is apparent with the overture. Instrumental detail is spectacular, with each piece identifiable within the whole. Spacing is perfect, both for front width and surround wrap. Low end extension is solid. Throughout, score is majestic but not overwhelming. It doesn't dominate, but it is presented in equal proportion and splendor to Lean's and Cinematographer F.A. Young's grandiose cinematography. Environmental spacing is efficient and natural. Listeners will feel part of every environment, from sweaty English headquarters interiors to wide-open desert vistas, from tents to caves and, indeed, every location in the film. The overhead channels don't engage with much in the way of discrete effects within generalized musical and ambient supports; even the reverberation heard in chapter five of disc one certainly bounces throughout the listener but doesn't necessarily fill the space above nearly so fully as it does around, though moments later some explosions do feel as if there's more of a pronounced top end support. One of the best examples of discrete overhead usage comes during this battle in the form of plane flyovers that plainly engage directly above the listener, and with excellent spacial awareness and fluid top end movement, too. However, action scenes do lack the fluidity and precision of tracks engineered in the modern style. Horses charging into battle in chapter three on disc two leaves a bit wanting in terms of absolute clarity, for example. But the resplendent music, perfectly clear and positioned dialogue, and natural ambience and feel for spacial absoluteness make this a first-rate track and a practically perfect compliment to the amazing visuals.
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