The Official Blog Of Edward Cline

Postscript to “Lawrence of Arabia”

neglected to mention in “‘Lawrence of Arabia’: A Reappraisal” French
composer Maurice Jarre’s incomparable score to “Lawrence of Arabia,”
one which is closest to what we would call classical composition. Jarre
composed the scores to many other notable (not necessarily good) films,
including “Dr.Zhivago,” “A Passage to India,” and
“Witness.” He also composed the score to the Islamic version of a
Biblical epic, “Mohammad,
Messenger of God
” (1976), financed by the Saudis and the late Libyan
dictator Muammar Gaddafi. Anthony Quinn also appears in this puff piece as
Mohammad’s “Frank Nitti” enforcer, Hamza. No one plays Mohammad.
There isn’t even a voice-over, because that would’ve been in violation of the
Islamic rule of never portraying the “prophet” in any form
whatsoever. Moustapha Akkad, the
director/producer, also appropriately produced the seemingly endless
“Halloween” horror movies, and another Anthony Quinn vehicle, “Lion of the Desert.”
Not so ironically, Akkad, a “Zionist conspiracy
to take over the world” believer, was killed by a Muslim
suicide-bomber in Jordan in 2005. When he was killed, he was in the process of
producing another Islamic epic, this one about Saladin, to star Sean Connery. About
that project, Akkad said,
exactly portrays Islam. Right now, Islam is portrayed as a terrorist religion.
Because a few terrorists are Muslims, the whole religion has that image. If
there ever was a religious war full of terror, it was the Crusades. But you
can’t blame Christianity because a few adventurers did this. That’s my
Well, because a relatively few Nazis killed a few
people, should Nazism earn a negative image? Or Communism? Or even
Progressivism? Hollywood was co-opted by Islam decades ago, just as it was
co-opted by the Left decades earlier. It explains why, in one respect, there
have been no films critical of Islam, only a handful excoriating the U.S., or
about terrorists in the form of neo-Nazis or madmen or space aliens or
“right wing” conspirators.
I can picture Connery soft-pedaling the character of
Saladin, who in fact was a brutal Muslim demagogue with a taste for beheadings,
just as he soft-pedaled the character of the Berber brigand Mulai Ahmed er
Raisuli in “The Wind and
the Lion
” (1975).
I think Noël Coward’s 1943 lyrics capture the politically
correct lunacy of our times very nicely: 
our victory is ultimately won,
It was
just those nasty Nazis who persuaded them to fight
their Beethoven and Bach are really far worse than their bite
be meek to them
turn the other cheek to them
And try
to bring out their latent sense of fun.
give them full air parity
treat the rats with charity,
don’t let’s be beastly to the Hun.
Coward was a “Naziphobe,” you see. He
ought to have been arrested and dragged into court and charged with blaspheming
Hitler, defaming Nazism, and provoking Nazi violence. He also denigrated
“excessive humanitarians” and their assurances that Islam really is a
“religion of peace.”


“Lawrence of Arabia”: A Reappraisal


“Studied” Censorship

1 Comment

  1. Edward Cline

    It just occurred to me: Another difference between the Lawrence movie and fact: Lawrence operated in what's now Jordan, not in "Arabia." I don't think he ever entered what would not become "Arabia" until Ibn Saud (the Arab he didn't support) annexed it after deposing Hussien Ali, his rival. "Lawrence of Jordan" just doesn't have the same ring to it, does it?

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