I told him if he felt like that he should join the party.Īh, but cutting out the tumors of injustice, that's a deep operation. You lay life on a table and cut out all the tumors of injustice. I asked him hadn't he one of his own, and so he talked about the Revolution. Robert Bolt's screenplay won one of the film's five Oscars, with another going to perhaps the most immediately recognizable element of the movie: Maurice Jarre's romantic music, with its hugely popular "Lara's Theme" weaving in and out of a swooning score. Geraldine Chaplin, in her adult debut, plays the doctor's compliant wife.
Sharif, who achieved stardom in Lean's previous film, Lawrence of Arabia, mostly looks noble, but the supporting cast is spiky: Rod Steiger as a fat-cat monster, Tom Courtenay as a self-righteous revolutionary, and Klaus Kinski and Alec Guinness in smaller roles. The movie is so lush and so long that it becomes an irresistible wallow, even when logic suffers-like Gone with the Wind before it and Titanic after. The streets of Moscow, the snowy steppes of Russia, the house in the country taken over by ice these are re-created with Lean's unerring sense of grandness. The results may sometimes veer toward soap opera, especially with the screen frequently filled with adoring close-ups of Omar Sharif and Julie Christie, but Lean's gift for cramming the screen with spectacle is not to be denied.
David Lean focused all his talent as an epic-maker on Boris Pasternak's sweeping novel about a doctor-poet in revolutionary Russia.
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