“Nothing is written.”
Readers!
My annual February birthday fund-raising drive for Behind the Black is now over. Thank you to everyone who donated or subscribed. While not a record-setter, the donations were more than sufficient and slightly above average.
As I have said many times before, I can’t express what it means to me to get such support, especially as no one is required to pay anything to read my work. Thank you all again!
For those readers who like my work here at Behind the Black and haven't contributed so far, please consider donating or subscribing. My analysis of space, politics, and culture, taken from the perspective of an historian, is almost always on the money and ahead of the game. For example, in 2020 I correctly predicted that the COVID panic was unnecessary, that the virus was apparently simply a variation of the flu, that masks were not simply pointless but if worn incorrectly were a health threat, that the lockdowns were a disaster and did nothing to stop the spread of COVID. Every one of those 2020 conclusions has turned out right.
Your help allows me to do this kind of intelligent analysis. I take no advertising or sponsors, so my reporting isn't influenced by donations by established space or drug companies. Instead, I rely entirely on donations and subscriptions from my readers, which gives me the freedom to write what I think, unencumbered by outside influences.
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Imagine working in what was perhaps the greatest movie ever made — and possibly the greatest that ever will be made, because virtually every scene, every shot, was done using real landscapes, real light and real people. Next, imagine playing what is arguably the greatest film role ever created, and playing that role unforgettably. And last, imagine you did all of this as your screen debut. That was Peter O’Toole. But as with so many geniuses, although he played many fine subsequent roles, O’Toole never equaled his achievement in “Lawrence of Arabia.” It is to the Motion Picture Academy’s everlasting shame that they did not award him the Best Actor Oscar. The winner that year, Gregory Peck, was excellent in “To Kill a Mockingbird.” But O’Toole was immense. His was a performance for the ages.
Incidentally, I don’t like watching video clips of the movie, because video cannot convey the experience of seeing “Lawrence” on the big — emphasis on “big” — screen. As an alternative, I offer this interview with Steven Spielberg, talking about the effect the film had on him: http://www.youtube.com/watch?feature=player_embedded&v=OX3bqRemW8U