{"id":503,"date":"2026-05-22T16:40:42","date_gmt":"2026-05-22T16:40:42","guid":{"rendered":"https:\/\/relocationobserver.com\/?p=503"},"modified":"2026-05-22T16:40:42","modified_gmt":"2026-05-22T16:40:42","slug":"maverick-the-epic-adventures-of-david-lean-review-how-the-director-of-lawrence-of-arabia-expressed-his-turbulent-life-in-his-grand-visions","status":"publish","type":"post","link":"https:\/\/relocationobserver.com\/?p=503","title":{"rendered":"\u2018Maverick \u2014 The Epic Adventures of David Lean\u2019 Review: How the Director of \u2018Lawrence of Arabia\u2019 Expressed His Turbulent Life in His Grand Visions"},"content":{"rendered":"
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\n\tOne of the fascinating dimensions of the movies made in the studio-system era is how the perceptions of those movies \u2014 and, in a strange way, the movies themselves \u2014 change over time. I went into \u201cMaverick: The Epic Adventures of David Lean\u201d eager to see a documentary about a director I thought of as the quintessence of lavishly impeccable middle-of-the-road Hollywood classicism. And it\u2019s not like that perception is wrong.<\/p>\n

Read more \u2018The Dreamed Adventure\u2019 Review: Valeska Grisebach\u2019s Wildly Audacious Small-Town-Gangster Epic Harvests Genre From the Drama of Real Life<\/a><\/p>\n

\n\tBut \u201cMaverick,\u201d which is full of singular stories, stunning film clips, and extraordinary insights from a panoply of filmmakers (Francis Ford Coppola and Alfonso Cuar\u00f3n to Paul Greengrass and Celine Song, Wes Anderson and Nia DaCosta to Denis Villeneuve and Brady Corbet), is a movie that boxes open your cinematic mind about who David Lean was and what he achieved. Yes, he was a classicist (Pauline Kael once complained that even if Lean were depicting a film\u2019s hero in blood up to his elbow, it would all be framed with exacting good taste). But \u201cMaverick,\u201d narrated by Cate Blanchett and directed with a fine blend of ardor and intelligence by Barnaby Thompson, shows you that Lean was also a radical filmmaker, perhaps the key inventor (along with Hitchcock) of modern Hollywood cinema. His images may have been exquisitely orchestrated (and in \u201cLawrence of Arabia,\u201d they were awesome verging on overwhelming), but what gave life to those images was the spirit beneath them, which was romantic and unruly. Because that\u2019s who David Lean was.<\/p>\n

\n\tYou\u2019d expect the opening-montage fanfare of \u201cMaverick\u201d \u2014 that snazzy blitz of career highlights that artist docs tend to rely on these days to suck you in \u2014 to be devoted to Lean\u2019s movies. From the start, though, the documentary is threaded with an explosive contradiction: that Lean\u2019s aesthetic as a director was elegant and organized and very British in its polish, but that his personal life was a mess, full of fast-burning romances and broken promises. The revelation of \u201cMaverick\u201d is how the two sides of Lean \u2014 the classicist and the reckless romantic narcissist \u2014 worked together.\u00a0<\/p>\n

\n\tFrom the start, he was an outsider artist. Born in 1908, he grew up in the suburbs of London with a father who rejected him (to the day he died, his father never saw one of his films), and this left the young David out of sorts and none too successful. He was bad at school and didn\u2019t fit in; he was awkward and alienated. But then he got hold of a still-picture camera, and as he began to take photographs, that process took over his identity. He was a fractured person who put the world together in the images he lived inside.<\/p>\n

\n\tHe decided early on that he wanted to work in film, and after talking his way onto British studio sets, he realized he loved the process, the magic toy-shop aspect of it all. He became a film editor, which he was brilliant at, working on the movies of Powell and Pressburger until, after a time, he became the most sought-after editor in Britain. But he was hungry to take the next step, and did after winning the attention of Noel Coward, the Oscar Wilde-spirited multi-hyphenate dandy who tapped him to co-direct \u201cIn Which We Serve.\u201d That was a fine film, but Lean\u2019s second collaboration with Coward, \u201cBrief Encounter\u201d (1945), was revolutionary.<\/p>\n

\n\tFor a long time, \u201cBrief Encounter,\u201d with its shy-talking leads and Rachmaninoff soundtrack, its vision of stiff upper lips kissing, was thought of as a middle-class British weeper\u201a one of the most touching four-hankie love stories ever made. But if you watch it now, you see that while it\u2019s certainly a sublime tearjerker, \u201cBrief Encounter\u201d is also a drama of sophisticated naturalism, which starts with the fact that it\u2019s about an adulterous affair, which the film dares to portray as transcendent and also heartbreakingly fragile. This was 1945, when that sort of thing was not openly embraced. And it\u2019s the forbidden rapture of it all that lends \u201cBrief Encounter\u201d its quality of lyrical realism. You see the same spirit at work in \u201cSummertime\u201d (perhaps Lean\u2019s most moving film), the 1955 Hollywood romance in which Katharine Hepburn plays a lonely secretary who finds love (or thinks she does) during a solitary summer vacation in Venice. \u201cMaverick\u201d makes the perceptive case that Lean\u2019s understanding of loneliness was the lifeblood of that movie.\u00a0\u00a0\u00a0 \u00a0<\/p>\n

\n\tFrom the outset, he was using movies to express who he was. We associate David Lean with the word \u201cepic\u201d (the opposite of \u201cintimate\u201d). But \u201cMaverick\u201d spins on the counterintuitive reality of what a personal<\/em> filmmaker Lean was. By the time he made \u201cBrief Encounter,\u201d he had already married and divorced Isabel Lean, abandoning both her and the son they had together, and he was in the middle of his fraught marriage to Kay Walsh, an actress who would be the second of his six wives, with hundreds of flings in between and on the side. His divorces ultimately left him scrambling for stability and turned him into a kind of moneyed vagabond, living out of suitcases.<\/p>\n

Read more Blake Lively Attends Fendi Party in New York City, RuPaul Premieres \u2018Stop! That! Train!\u2019 in L.A. and More Celeb Red Carpet Photos: May 2026<\/a><\/p>\n

\n\tHe was successful but rootless, and as \u201cMaverick\u201d goes on, and we hear the stories of how these relationships foundered and fell apart, something strange happens. Lean\u2019s flawed love life starts out sounding typical enough, and then it comes to seem sordid and opportunistic and finally, in a strange way, it becomes borderline funny, because we hear excepts from the letters Lean would write, and he sounds just<\/em> like the ardent geeks of \u201cBrief Encounter,\u201d though the truth is that he was a hound \u2014 a hound who needed to convince himself, in every case, that he was having the love of a lifetime. He was hawkishly handsome, with a purse-lipped grin, which in later years made him resemble a genteel English David Lynch. But his polite fa\u00e7ade masked a driven, at times raging ego of a personality.\u00a0<\/p>\n

\n\tLean\u2019s romanticism, which was obsessive (that\u2019s part of why it was fickle), was embedded in how he worked as a filmmaker. He was drawn to extremes, just as his characters were \u2014 the hellbent ethno sun-god adventurer T.E. Lawrence, and Alec Guinness\u2019s fanatically honorable, driven-to-the-point-of-blindness Col. Nicholson in \u201cThe Bridge on the River Kwai,\u201d which was the first of the productions Lean made that changed cinema. Shooting \u201cThe Bridge on the River Kwai,\u201d Lean became almost like later Kubrick in the lavish scale of his control-freak perfectionism, and a bit like the Werner Herzog of \u201cFitzcarraldo\u201d in how he built that bridge (the largest movie set ever constructed up until that time). In a sense, he built an entire war movie around a (deluded) romantic quest.<\/p>\n

\n\t\u201cLawrence of Arabia\u201d was his attempt to top the spectacle of \u201cKwai,\u201d and it was so visually transfixing, placing the audience in the sensual center of the desert, that \u201cMaverick\u201d makes the case for it as the first modern epic, a movie that casts its shadow over the entire blockbuster age; it\u2019s been a totem for Steven Spielberg. \u201cLawrence\u201d was not an ordinary film shoot. As dominated by Lean, the studio-system filmmaker who took filmmaking out<\/em> of the studio, it was closer in spirit to the kind of teetering-on-madness, life-becomes-art immersion that Coppola sought in \u201cApocalypse Now.\u201d These are filmmakers who became wedded to the idea of going to hell and back.<\/p>\n

\n\tIf \u201cLawrence\u201d was Lean\u2019s artistic apex, \u201cMaverick\u201d then chronicles his decline, which you could argue (as the critics did) began with the overly padded \u201cDoctor Zhivago,\u201d the first movie in which Lean\u2019s lushly constructed style began to look a touch anachronistic. (But it was a smash hit.) That was followed by the overblown \u201cRyan\u2019s Daughter,\u201d which triggered one of the oddest events I\u2019ve ever heard about within the world of film criticism. In 1971, after \u201cRyan\u2019s Daughter\u201d opened to scathing reviews, Lean was invited to a meeting of the National Society of Film Critics, and for two hours he sat there as critics like Pauline Kael and Richard Schickel excoriated him for having made this turkey. I\u2019ve never heard another story of a director being \u201csummoned\u201d to a critics\u2019 meeting \u2014 let alone so that he could sit there and be chastised. Lean was so devastated (we see a clip of him recalling the event) that he didn\u2019t make another film for 14 years.<\/p>\n

\n\tHe came back, of course, with \u201cA Passage to India,\u201d which was one of the great comebacks \u2014 because Lean fashioned it in a lean<\/em> version of his grand style, as if no time had passed, and what that meant in 1984 is that he wound up beating Merchant-Ivory at their own game. \u201cMaverick\u201d is an enthralling celebration of a director who was one of the visionaries of movies. I realized, watching clips of the two Dickens films Lean directed during the \u201940s (\u201cGreat Expectations\u201d and \u201cOliver Twist\u201d), that the reason I\u2019d never fully appreciated how original and movie-forward they were is that their influence had been so thoroughly absorbed into the language of cinema. Yet the current that runs through Lean\u2019s films (he only directed 17 of them) is an indelible feeling of romantic fervor leading to loss. That was the story of his life, which he made larger-than-life.<\/p>\n

Read more Ms. Rachel Sends Love to Danny Go After 14-Year-Old Son Dies of Cancer: We \u2018Are Thinking About Their Son\u2019s Amazing Joy and Their Immense Pride\u2019<\/a><\/p>\n<\/div>\n<\/div>\n

\n

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\t\t\u2018Maverick \u2014 The Epic Adventures of David Lean\u2019 Review: How the Director of \u2018Lawrence of Arabia\u2019 Expressed His Turbulent Life in His Grand Visions<\/p>\n<\/h2>\n

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\t\tReviewed at Cannes Film Festival (Cannes Classics), May 17, 2026. Running time: 105 MIN.<\/p>\n<\/h2>\n

    \n
  • \nProduction:<\/strong>
    \nAn Embankment, Fragile Films, Assemble Media production. Producers: Nick Taussig, Jack Heller, Barnaby Thompson. Executive producers: Tim Haslam, Hugo Grumbar, Caitlin De Lisser Ellen, Eric Kohn, Barbara Lee, Jack Oliver.\t\t\t<\/li>\n
  • \nCrew:<\/strong>
    \nDirector, screenplay: Barnaby Thompson. Camera: Geoffrey Sentamu. Editor: Paul Van Dyck. Music: Rael Jones.\t\t\t<\/li>\n
  • \nWith:<\/strong>
    \nFrancis Ford Coppola, Paul Greengrass, Wes Anderson, Celine Song, Alfonso Cuaron, Nia DaCosta, Brady Corbet, Denis Villeneuve, Autumn Durald Arkapaw, Cate Blanchett. \t\t\t<\/li>\n<\/ul>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

    Barnaby Thompson’s enthralling documentary celebrates a director who was one of the visionaries of movies. But his personal life was a mess.<\/p>\n","protected":false},"author":1,"featured_media":502,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[3,542],"class_list":["post-503","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-film","tag-cannes-film-festival","tag-maverick-the-epic-adventures-of-david-lean"],"yoast_head":"\n\u2018Maverick \u2014 The Epic Adventures of David Lean\u2019 Review: How the Director of \u2018Lawrence of Arabia\u2019 Expressed His Turbulent Life in His Grand Visions - Relocation Observer<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/relocationobserver.com\/?p=503\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u2018Maverick \u2014 The Epic Adventures of David Lean\u2019 Review: How the Director of \u2018Lawrence of Arabia\u2019 Expressed His Turbulent Life in His Grand Visions - Relocation Observer\" \/>\n<meta property=\"og:description\" content=\"Barnaby Thompson's enthralling documentary celebrates a director who was one of the visionaries of movies. 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