This is a free preview of a paid episode. To hear more, visit www.bangbangpod.com

Osita Nwanevu joins us to revisit David Lean’s epic with an eye toward empire’s soft power: the seductive aesthetics that make conquest look noble, even as the film telegraphs its own critique. We track Lawrence’s zigzag between identification and revulsion—his “It’s clean” quip about the desert; the Deraa trauma; the “no prisoners” massacre—and the way racism on the British side (“bloody wogs”) refracts his alienation back home.

Along the way we talk casting (Omar Sharif’s indelible Sherif Ali, Alec Guinness as Prince Faisal), the brittle politics of the Arab National Council, and how Sykes–Picot shadows the dream of independence that flickers and fails in the final act. Osita helps us tie the film’s Orientalist grammar to real-world partition and mandate politics without losing sight of media incentives: the American reporter’s hunt for a marketable hero mirrors the alliances Faisal seeks and the headlines the West wants. (On Osita’s work and his new book framing a more democratic American project, see below.)

If the movie flirts with myth, the history complicates it: wartime bargains that prefigured the French defeat of Faisal’s forces by 1920 and the rechanneling of Hashemite rule, the contested record on Deraa, and the indispensable (if compromised) architects of a new Middle East. We sit with the film’s ambivalence—how it both glamorizes and subverts the imperial gaze—and ask what a less self-exculpatory storytelling tradition might look like, on screen and in policy.

Further Reading

Osita’s website

Osita’s debut book

“The True Story of Lawrence of Arabia,” by Scott Anderson

“What Gertrude Bell’s Letters Remind Us About the Founding of Iraq,” by Elias Muhanna

Lawrence of Arabia Trailer