his lifetime that he most admires. In 1999, the British Film Institute compiled its list of the Top 100 British films. Seven of Lean's films appeared on the list: Brief Encounter (#2) Lawrence of Arabia (#3) Great Expectations (#5) The Bridge on the River Kwai (#11) Doctor Zhivago (#27) Oliver Twist (#46) In Which We Serve (#92) In addition, on the American Film Institute's 1998 list of 100 Years...100 Movies, Lawrence of Arabia placed 5th, The Bridge on the River Kwai 13th, and Doctor Zhivago 39th. In the 2007 revised edition, Lawrence of Arabia placed 7th and The Bridge on the River Kwai placed 36th. With five wins out of six nominations, Lean directed more films that won the Academy Award for Best Cinematography at the Oscars than any other director, for Great Expectations, The Bridge on the River Kwai, Lawrence of Arabia, Doctor Zhivago and Ryan's Daughter—the last nomination being for A Passage to India. Lean died in Limehouse, London on April 16, 1991, at the age of 83. He was interred at Putney Vale Cemetery. Style As Lean himself pointed out, his films are often admired by fellow directors as a showcase of the filmmaker's art. According to Katharyn Crabbe, "[t]he rewards of watching a David Lean film are most often described in terms of his skillful use of cinematic conventions, his editing, his alertness to the ability of film to create effects." In The Rough Guide to Film, Tom Charity writes: According to Sarah Caldwell, In his introduction to David Lean: Interviews, Steven Organ claims that Lean "often straddl[ed] that fine line between commercialism and artistry. To view one of Lean's films is to see the complete spectrum of tools available to the filmmaker - and used to their fullest potential. Like his contemporaries (Michael Powell, Orson Welles, John Ford), Lean understood fully that telling a story cinematically requires several components: a quality script, precision editing, dramatic composition, and structured sound. Nothing was overlooked or neglected." Themes Steven Ross has written that Lean's films "reveal a consistently tragic vision of the romantic sensibility attempting to reach beyond the constraints and restrictions of everyday life", and that they tend to feature "intimate stories of a closely-knit group of characters [whose] fates are indirectly but powerfully shaped by history-shaking events going on around them." He further observes that, in his work, "setting [is used] as a presence with as