Dear Mr. Smithee: Do you think there has been a better screen entrance than Omar Sharif's shimmering image in "Lawrence of Arabia"?
DALE K. COCHRAN
Dear I'm Here! There are ample examples of excellent screen entrances.
I remain quite impressed with William Holden's introduction in the great "Sunset Boulevard." As his voice-over intones what amounts to the essential exposition of the story, his character is shown face down in a pool, the camera from below showing him bobbing in the water and the police and others standing to the side above him. It is some kind of terrific.
I love the little vignettes that introduce the main trio in "The Good, the Bad and the Ugly." I love the itty-bitty alien bursting forth with blood and ook from the chest of John Hurt in "Alien." I love Anthony Hopkins standing with that creepy "Hello, Clarice" smile on his face as Jodie Foster approaches his dank, dark cell in "The Silence of the Lambs."
I certainly respect the extravaganza of aerial shots that lead to Julie Andrews twirling herself atop a picturesque alp at the beginning of "The Sound of Music."
But, yes, the entrance of Omar Sharif in "Lawrence of Arabia" is the best.
From a far distance in the desert, he's seen as a blip on the horizon as he approaches, then sort of a watery mirage as he gets closer. The scene lasts seemingly forever. It underscores the vast expanse of space and desert mystery that defines the film.