Epic as Vast as the Desert Silver Spring Theater Showing 70-mm ëLawrence of Arabiaí by Ky N. Nguyen I still have vivid memories of the first time I saw ìLawrence of Arabiaî on the big screenóa defining moment in my cinematic experiences. During my sophomore year in college, I had a sprained ankle that required me to hobble on crutches to the campus theater. It was quite an ordeal, but nothing compared to that of British lieutenant T.E. Lawrence (Peter OíToole) when he crossed the desert and united the Arabs against the Ottoman Empire. Undoubtedly, youíll have an easier journey to downtown Silver Spring, Md. ìLawrence of Arabiaî is grand storytelling at its very best. British director David Leanís biopic sets the standard for historical epics, especially in 70 mm. After I saw its lifelike vividness at Baltimoreís Senator Theatre, I canít go back to even 35 mm anymore. The vastness of the desert is so palpable in 70 mm. Sand seems to be everywhere. The memorable scene where tiny Lawrence is undulating on a camel across the desert would simply be lost on a television. Obviously, the Oscar-winning technical contributions of Leanís direction, F.A Youngís cinematography, John Boxís art direction and others are al l first-rateóas is the crisp screenplay. Yet ìLawrence of Arabiaî is also memorable for the fresh performances of stars in the making. Just looking at the deep blue eyes of the young OíToole, the viewer can see a rock star, one whose distinct manner exudes subtle charismatic abilities. Of course, donít forget that Sherif Ali ibn el Kharish was Omar Sharifís first English-language role. Solid international veterans, including Alec Guiness, Anthony Quinn, Jack Hawkins, JosÈ Ferrer, Anthony Quayle and Claude Rains, back up the youngsters. ìLawrence of Arabiaî (English; 226 min.; 70 mm.) plays through July at the American Film Institute (AFI) Silver Theatre. ëThe Legend of Suriyothaií Prince Chatrichalerm Yukol, himself a member of the Thai royal family, solidly directs ìThe Legend of Suriyothai,î a sweeping historical epic in the legacy of ìLawrence of Arabia.î Francis Ford Coppola streamlined the opulent ìSuriyothaiî for its American release after its splash at Cannes. Commissioned by the queen of Thailand, veteran filmmaker Yukol recounts an important time in 16th-century Thai history. The eponymous Queen Suriyothai died while fighting with King Mahachakrapat against invaders from Burma. Before then, all sorts of power struggles between opposing factions rocked the country. Certainly, the production values of ìSuriyothaiî are spectacular, thrusting the viewer into another world. Itís full of palace intrigue and exciting battle scenes involving elephants and personal combat. Despite the familiar elements, the uniqueness of the formal and stylized Thai acting makes ìSuriyothaiî a savory delicacy. ìThe Legend of Suriyothaiî (Thai with subtitles; 142 min.; scope) opens Fri., July 11, locally, including Cinema Arts. Crazy or Not ìRespiro,î directed by Emanuele Crialese, is a haunting tale about a person whoís different in a place thatís different. The film is gorgeously photographed on the Sicilian island of Lampedusa, which is as much a character as any of the people in the film. Life moves to a different rhythm here than in the modern world. The people struggle to survive in the fishing village. Graziaís (Valeria Golino) eccentric actions embarrass her family, who are pressured to have her committed. With the aid of her son, she escapes into hiding and becomes a legend. Golino is marvelously physical in her role as the free-spirited yet burning Grazia. The rest of the cast, all nonprofessionals, is effectively realistic in the subtle manner thatís a trademark of Italian neorealism, to which ìRespiroî owes a debt. ìRespiroî (Italian with subtitles; 90 min.) is now playing at Cinema Arts and Landmarkís Bethesda Row. Fellini: Fudging the Truth Damian Pettigrewís revealing documentary ìFellini: Iím a Born Liarî uses candid interviews with Federico Fellini and his co-workers to portray the legendary Italian directorís life and actions behind the camera. It requires some knowledge of the man and his work for full appreciation, though complete insight is never obtained. Stories of adoration and derision come from screenwriter Tullio Pinelli, cinematographer Giuseppe Rotunno, and actors such as Donald Sutherland, Terence Stamp and Roberto Benigni. Much of the movie is Fellini talking about how his films were made. A notorious fibber, Fellini never hesitated to enhance his own myth. For him, life was not much different than fiction. A complete narcissist, Felliniís protagonists were quite frequently reflections of himselfóbest exemplified by Marcello Mastroianni in films such as ìLa Dolce Vitaî and ì8.î As Fellini got older, his filmsóand perhaps his lifeóbecame more and more surreal. ìFellini: Iím a Born Liarî (Italian, English and French with subtitles; 105 min.) is now playing at Visions Cinema/Bistro/Lounge. A Maestroís Decline Directed by Bille August (ìPelle the Conquerorî), ìA Song for Martinî is a poignant melodrama dealing with the stresses illness can place on love. Augustís feature is notable for its fine acting and capable direction. Martin (Sven Wollter), a famous conductor-composer, falls in love with his first violinist, Barbara (Viveka Seldahl). After divorcing their respective spouses, they marry and appear set to live happily ever after. Then Martinís Alzheimerís disease slowly becomes a part of their lives. The leads are bravely uninhibited in portraying how loss has devastated their charactersí lives. Wollter and Seldahl, who were married in real life, effectively translate the realistic details of their personal relationship onto the screen. (In a sad twist of irony, it was Seldahl who died shortly after the filmís completion.) ìA Song for Martin (En SÂng f^r Martin)î (Swedish with subtitles; 117 min.) opens Fri., July 18, at the AFI Silver Theatre. It Happened One Night Patrice ChÈreauís frequent collaborator, DaniËle Thompson, is a French writer turned director whose previous screenplays include ìQueen Margot,î ìCousine Cousineî and ìThose Who Love Me Can Take the Train.î The merits of their current collaboration, ìJet Lag,î a breezy romantic comedy, largely lie with the considerable charm of its popular actors, Juliette Binoche and Jean Reno. A U.S.-based workaholic Frenchman (Reno) meets a Paris-based middle-class beautician (Binoche) during an airport strike at Charles de Gaulle Airport. Despite having apparently nothing in common, they find potential love in each other. Their romantic communication via cell phones is a modern twist on a classic story. Letís face it: The tale of opposites attracting is nothing new. Weíre here to enjoy the starsí chemistry and playful banter when interacting with each other. Claudette Colbert and Clark Gable did much the same for us back in the 1930s in Frank Capraís classic screwball comedy, ìIt Happened One Night.î ìJet Lag (DÈcalage Horaire)î (French and English; 91 min.) is now playing at Cinema Arts and Landmarkís Bethesda Row. Maori Girl Power ìWhale Rider,î directed by Niko Caro, is a stirring tale of feminist empowerment in an unusual setting. Powerful imagery and music propel the movieís message. Koro (Rawiri Paratene) is a Maori chief of the Whangara people in eastern New Zealand, where theyíve lived for more than 1,000 years. Although he loves his granddaughter, Koro canít conceal his deep disappointment that his only surviving grandchild is a girl, thereby ending centuries of his familyís bloodline. After Koro dies, the adolescent Pai (Keisha Castle-Hughes) seeks to prove herself worthy of tribal leadership by riding a whale, a role traditionally reserved for men. Castle-Hughes is astonishingly realistic in her debut performance, conveying Paiís emotions and enthusiasm believably. And Paratene lends human dignity to a traditional role thatís often stereotyped. ìWhale Riderî (English; 105 min.; scope) is now playing locally, including Cinema Arts. It premiered in Washington, D.C., at the Environmental Film Festival. Repertory Notes The American Film Institute (AFI) Silver Theatre presents its debut 70-mm films: Stanley Kubrickís ì2001î and David Leanís ì Lawrence of Arabia.î Other programs include Czech cinema, post-war German films, Japanese anime, and thrillers from British-born Alfred Hitchcock ((301) 495-6700, www.afi.com/Silver). The annual series of Canadian documentaries returns to the National Gallery of Art, which also features a retrospective of German director Ernst Lubitschís silent films ((202) 842-6799, www.nga.gov/programs/film.htm). The Freer Gallery of Artís popular annual Hong Kong film series includes ìThe Bride With White Hairî on July 18, featuring Brigitte Linís famous glare ((202) 357-2700, www.asia.si.edu/events/films.asp). Ky N. Nguyen is the film reviewer for The Washington Diplomat.