The small screen renders illegible many of Lawrence of Arabia’s most’s memorable shots: Omar Sharif riding up in the distance through the shimmering heat, for example. Others are such technical and aesthetic achievements that their appreciation demands full-size viewing: take the assembly of two images that comes out of a search for “greatest cut in film history.”
It occurs early in the film, just after the young British army lieutenant Lawrence has received word of his impending transfer from Cairo to the Arab Bureau. He lights a cigar for Mr. Dryden, the diplomat who arranged the transfer, blows it out, and suddenly the sun rises over the Arabian desert.
If you would tell me I could see only one film in 70mm in a theater, I’d pick this one.