Lawrence of Arabia (1962)

I have watched “Lawrence of Arabia” many times, but I have never *seen* it in 70 mm as it’s meant to be adored. That said, my recent TV viewing left me awed again. This epic turned razor sharp history lesson is indeed one of the greatest films ever made. It’s cinematography of endless deserts and massive (pre-CGI) battles involving men on horseback charging trains, and Peter O’Toole as Lawrence standing before the sun remains unmatched. O’Toole is T.E. Lawrence, the Brit cartographer who becomes a war leader, leading hundreds of Arabs (our naïve English term put upon hundreds of tribes, unasked) against the Turkish Empire during World War I. That’s a slice of the story. When director David Lean depicts mad Lawrence leading “his” army into Damascus, only to lose the city to chaos, it plays out as foreshadowing of America in Iraq. Lean goes brilliant as we watch Lawrence “grow” from a speck on the horizon to filling the screen, blotting the desert out in paranoid close-ups. Draw your own conclusions on who this man might be now. I love this film, historical in every way. I hope to see this in a theater one day. A+

Dirty Wars (2013)

“Dirty Wars” will enrage any American with a soul. It’s a grueling and honest Come to Jesus documentary on the U.S. military’s expanding War on Terror, with no bounds, boundaries, or accountability. Journalist Jeremy Scahill is our sole guide as he leaves U.S.-approved field reporting and ventures into rural Afghan homes to investigate raids by the secretive Joint Special Operations Command. During one such hit, nearly an entire family is killed, including women, a child, and a police chief. The distraught relatives have video footage of troops carving bullets out of the dying victims. Our leaders shrug, so what? Scahill asks why, digs deep, finds informants and threats, hits brick walls, and finds more war horror -– the assassination of a teenager -– and a direct line to the White House. Once the promised hope of liberals, Obama has outpaced Bush in secrecy and a body county unknowable and unexplainable. “Dirty” is a stellar work of journalism, and yet double-edged: Overly dramatic footage of Scahill typing in the dark of his apartment whiffs of Hollywood drama. But how else to tell this story? We need Scahill’s ego and hunger, because we’ll get the truth no other way. A-

The Devil’s Double (2011)

“The Devil’s Double” is the tale of an Iraqi Army officer named Latif Yahia who was coerced – under threat of death – to serve as the body double of Uday Hussein, a heinous psychopath who saw his status as Saddam’s son as a blank check to torture, murder, and rape. True story? Not likely. Fascinating? Endlessly. Uday’s life is portrayed as a depraved reality version of “Scarface,” the American dream made into a demonic nightmare of debauchery and excess. It’s a twisted analogy, but not crazy: Uday coveted American products, and likes his sports cars. Director Lee Tamahori (“Once Were Warriors” and then much Hollywood crap) mixes grisly horror, war, sex, action, drama and satire, and shows the fearful anxiety that ruled Iraq for decades. It’s not a deep film, but it’s strong and disturbs. Assisted by special effects, body doubles (heh), and fast editing, Dominic Cooper – a supporting player in “Captain America” -- burns hardcore as Uday and Latif, one a monster unleashed, and the other an everyday man scared that he may lose his soul to the beast. One wonders if Uday had come to power, how many millions he would have killed with sick glee. B+

Body of Lies (2008)

“Body of Lies” is a horrible title. But it sure beats “Generic, Unconvincing Middle Easy Spy Movie.” The name it deserves.

Ridley Scott’s thriller starts off with a bang – a busted group of Islamic Jihadists blow themselves up inside a block of English row houses without so much as a shrug. The scene shocks. Then we jump to hot, dangerous Iraq where super CIA spy Roger Ferris (Leonardo DiCaprio) is digging and running to nail a second cell of Jihadists. The mission goes to hell, and Roger is wounded. That’s the first half hour. I liked it.

Then the show falls apart. Roger is sent to Jordan by his boss (Russell Crowe) to bust another cell. The job goes to shit and injured again, Roger starts digging on a local nurse. Because that’s what white-as-rice American spies do in the hostile Middle East, date Muslim women in public and play grab hands, as to not get noticed. Everyone notices. Dogs even perk their ears. DiCaprio, sporting a beard that looks like arm pit hair, can’t push this slop to credibility. He’s too eager to please, and why is a war-scarred spy all gaga over a woman? And why does she believe his flimsy cover story? Because the script demands that the hero be compromised. No other reason.

Roger isn’t even actually a character, a person to root for. He’s an ideal – the young, pragmatic, justice-seeking American who wants to vanquish evil, but with utmost care for the innocent. Crowe also plays a symbol – the fat, pretentions, know-it-all American who doesn’t care if he’s right or wrong, and can’t tell the difference because he’s busy driving the minivan. Crowe is good, but his character is white noise. Debates about war far flat: Good guys want the war to end, but the bad guys don’t. Deep.

Scott’s best playing card is the might of tech-savvy U.S. surveillance, and the way terrorists stay out of sight by staying off the grid, all hand-written messages, bicycles and 1,000-B.C. hideouts. This is perfect entertainment for 2000. An unlikely dud from Scott. Bag this “Body.” C