Becket
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Movie Reviews of Becket
Movie Review: Arresting and Regal Medieval Spectacle
Summary: 5 Stars
I am reminded, amid viewing the solemnity of this epic that one should never go to the movies for a history lesson.
We begin our story in the early 1170s where a procession of monks and crowds of commoners wait outside Canterbury Cathedral for the arrival of King Henry II (Peter O'Toole)to do penance at the tomb of the slain Archbishop, Thomas Becket (a classically charismatic Richard Burton, very much in his element). Dismounting from his horse, he bestrides the steps of the Cathedral, enters, and approaches the tomb with his two attendants in tow, garbed in a red cape and a simple shift( As red is the color of Catholic martyrdom, the color of the cloak evokes some speculation). Soon, both cloak and shift are removed as the king hunches down for penance, and begins a wistful reminiscence about a tragic path from friendship to enmity.
Laurence Rosenthal's score captures the early years of the tempestuous duo as a glorious romp through the English countryside, barely escaping by dawn's early light after a tryst with a farmer's daughter (Linda Marlowe), and whereas actual accounts of Becket's life state that he was celebate and abstainant from vice, this version of his life has him arranging more than one such encounter with the opposite sex ( and joining him in these escapades) when he isn't running Henry's court.
Interestingly, Jean Anouilh's play-turned-film ignores the fact of the main character's having been of Norman extraction, and makes him a Saxon.
The real-life camaraderie of the two lead actors comes across very well in the early scenes. The acting becomes more profound with the change in the relationship of their characters.
The constant debate between the justice by the state and justice by the church comes into focus. Becket becomes the King's Chancellor, much to the dismay of the elderly Archbishop of Canterbury (Felix Aylmer), who prefers to uphold canon law as the supreme law of England over the power of the King.
A girl the two friends encounter while hunting (Jennifer Hilary) becomes a point of interest for both of them, indirectly leading to a tragedy involving Becket's dour wife, Gwendolen (O'Toole's then-real-life wife, Sian Phillips), and we see the initial rift between the two men.
However, they still undertake their diplomatic mission to France and the newly widowered Becket scarcely has time to grieve. He arranges for a French town's capitulation, reporting to the Barons who strongly influence the King, has an initially hazardous encounter with a monk(David Weston) in whom he will find something of a kindred spirit, and confers with Henry in the company of his temporary French acquisition (Veronique Vendell). Soon both learn of the demise of the old Archbishop of Canterbury, and on a whim, Henry decides to give Thomas his position.
The rift between the two men becomes official when Thomas begins to take the position seriously, expressing the desire to uphold canon law over the rule of the King, particularly regarding the issue of a nobleman, who seized an ordered the killing of a priest accused of improper conduct with a young girl before the accused could be brought to trial in ecclesiastical court. This nobleman, Lord Gilbert, one of the King's most loyal supporters, remains unrepentant, and Thomas excommunicates him.
In real life, the terms of the Constitution of Clarendon, which further fueled the struggle between monarchical and Papal power were another factor dividing the two former friends.
As King Louis VII of France, Cardinal Zambelli, Pope Alexander III, and Bishop Folliot,John Gielgud, Gino Cervi, Paolo Stoppa, and Donald Wolfit are the other lead supporting players.
Martita Hunt, Pamela Brown, and Riggs O'Hara, as Empress Matilda, Eleanor of Aquataine, and Prince Henry compose the family with whom ( at least in this production) the King has much strife.
As would be the case with another King Henry (VIII) and another Saint Thomas(More) nearly 400 years later, the issue of the power of the Church vs the power of the King becomes a death struggle between two former friends.
Despite its inaccuracies, "Becket" has a stellar cast, and those viewing it will be entertained by a well-acted and thoroughly absorbing drama.
Movie Review: King Henry II: "Becket is the only intelligent man in my kingdom, and he's against me!"
Summary: 5 Stars
Made in 1964 as the screen adaptation of the play by Jean Anouilh "Beckett or the Honor of God" written in 1959, the film takes place in the 12th Century's England but never for a second it feels outdated or old-fashioned. The subjects it explores, the passion and artistry it presents in every scene, its sunning beauty, the use of medieval music, and especially, the incredible craft and chemistry between two great acting legends in their finest performances make the film an outstanding cinematic event and one of the best history/biopics ever made. Magnificent in every sense, "Becket" examines the complex relationship between Henry II (Peter O'Toole), by the words of Sir Winston Churchill, one of the ablest and most remarkable of the English kings, and his best friend from the days if his youth, his trusted confident, his mentor, whom he loved, respected, and appointed his Chancellor, Thomas Beckett (Richard Burton). As Chancellor, Becket was involved in the important acts as the distribution of royal charters, writs and letters. Becket carried out many tasks for Henry II including leading the English army into battle. After Archbishop of Canterbury dies, Henry offers the post to Beckett counting on his unbending loyalty and support in religious questions. To his utmost surprise and anger, Beckett openly defies Henry on the matter of clergymen found guilty of serious crimes. Henry decided that they should be handed over to his courts. Thomas Becket insisted that the church should retain control of punishing its own clergy. The king believed that Becket betrayed him and was determined to obtain revenge which he finally expressed in front of his four knights, "Who will rid me of this turbulent priest?"
It's been several days since I saw the film but I still can't (and I don't think I ever will) decide whose performance was more powerful and remarkable. Both, O'Toole and Burton are simply outstanding and carry the film effortlessly. They both were nominated by the Academy for best leading roles. I will always remember the last Burton's words just before his Becket dies hacked with the knights' swords, "Poor Henry"...In the last moment of his life, he feels sorry for his murderer, his former friend whom he loved but would not betray his principles and beliefs even for him. Another scene is also imprinted in my memory - Henry invites his family for the reunion where he is expected to name his successor. Surrounded by his closest relatives, his mother, his estranged wife, Queen Eleanor of Aquitaine, his three sons, whom he never loved nor they loved him. All they want - the throne of England. All he wants - his friend Beckett next to him, but he lost him to God... I'd like to add that the scene of reunion is the source of another film featuring Peter O'Toole as Henry II. In 1968, O'Toole reprised the role of Henry in "The Lion in Winter" where his partner was Katherine Hepburn as Queen Eleanor of Aquitaine. O'Toole was nominated for the Oscar for both films and lost both times.
For the first time since 1964, "Beckett" is available on DVD with many bonus features that include Peter O'Toole's commentary, two archival interviews with Richard Burton from 1967 and 1977 where he does not speak about "Beckett" but we learned a lot about Richard Burton, the actor and the man, and interviews with editor Anne V. Coats and composer Laurence Rosenthal. Nominated for 12 Academy Awards, "Beckett" won for Best Adapted Screenplay. It should have won much more. It deserves every one of its nominations even now, after all these years.
Movie Review: "Will No One Rid Me of this Troublesome Priest"?
Summary: 5 Stars
"Becket" is a glorious movie and one which provides high interest in England's primeval past. Based upon a play by Jean Anouilh, the prime action centers around the power struggle between King Henry the II (played by Peter O'Toole) and Becket, who becomes The Archbishop of Canterbury (played by Richard Burton). Set in the 1100s, we get a rare glimpse into that day and age. However, hatred is not at the center which propels this tale - but love.
Henry is base and crass, while Becket is learned and refined. They start off as best friends, roaming the countryside in search of more mayhem and debauchery, but soon fate and ego come in from stage left. To save an innocent girl from Henry's clutches, Becket innocently enters into a deal with the King. Little does he know it will cost him the only thing he loves in his life.
From this point on, the psychological underpinnings weave a treacherous web. Henry loves Becket, and probably knows he is not his equal, thus he begins a tireless campaign to use his royal advantage to make Becket feel the same way he does. But, Becket has a higher purpose and, unfortunately, the damage has been done.
Henry attempts to weaken the power of the Church of England by promoting Becket to Archbishop, thinking that by instilling an ally in that position he will have total control of England. But Becket, reluctant at first, takes the position in great earnest, and becomes a full-fledged man of God.
At this time, the church had the dominant say over many countries, and was a major force to be reckoned with. Henry wanted the right to put on trial religious clerics in civil court, but Becket held firm that it was the church's jurisdiction only. When Henry passes off a light sentence to a member of his court that murdered a clergyman, Becket uses the power of excommunication. This infuriates Henry and he fakes charges in order to prosecute Becket. Seeing the writing on the parchment, Becket flees to France and is given asylum by King Louis the VIIth (played brilliantly by Sir John Gielgud).
After meeting with the Pope, and arranging to come back to England, things never get set right with this debacle. In an off-the-cuff, exasperating declaration by Henry, Becket's sad fate is revealed.
In summation, "Becket" is an extraordinary visual experience. You can see the precision of acting excellence in both O'Toole and Burton. You will be riveted by the performance as they display the depth and range of each character; Henry's erratic and egotistical emotions balanced against Becket's single minded devotion. But, we wind up asking is it towards God, or himself? This is only a piece of the larger puzzle which you'll find in "Becket".
In closing, Jean Anouilh took some liberties with his play, and there are historical inaccuracies. However, this remains a stimulating character study in an absorbing time in England's history. It begs further investigation and it is well worth the effort. If anything, it proves that the complexity of human relationships remain just as strong now as it did almost 900 years ago. And with actors like these, it is well worth your time.
Highly Recommended!
Forsooth! -------- Metamorpho ;)
Movie Review: Of Saints and Savages
Summary: 5 Stars
First and foremost, this is a play, and a very impressive work by arguably France's greatest playwright of the latter half of the 20th Century, although one would never guess this from the rarity with which his plays are nowadays presented. Unfortunately, death did his reputation no good at all. It is packed with words and ideas articulating history, poetry, political and theological philosophy. The dialogue is beautifully crafted, and it emerges from the mouths of two of Britain's finest actors with all the wit, tension, pathos and grandeur that one associates with those thespians who have reached the very pinnacle of their profession. Anger, sadism, sexual excess and the lowest manifestations of the human animal abound, and they flood the screen at a breath-taking intensity. But the most profound moments are those where stillness and silence prevail, allowing the viewers to assimilate and evaluate the chess-like moves between the two powerful protagonists: O'Toole as the coarse and brutish Henry ll, Burton as the calculating, controlled but ultimately civilized Beckett. It is Ali v Fraser, the Thrilla in Manilla transposed to the Sussex Downs. A bruising bleeding contest fought with minds and tongues that goes right down to the wire.
It is well to recall that the characters are historical, but not straight out of history. As with George Bernard Shaw, they have been created from history to mouth the ideas of the dramatist rather than to present an impeccable account of history itself. This applies to all the other personna that populate these tableaux. The downtrodden Saxon peasants; the over-arching Norman barons;the Bishop of London (Donald Wolfit); Louis the Umpteenth,King of France (John Gielgud); all are splendid mouthpieces ( and sometimes also codpieces ) for the plot and the action but most of all for the dialectic arguments that underpin this whole production and give it a timeless dimension. Not exactly men for all seasons, but instruments of power for all time. And what Tableaux! The camera does a wonderful job of framing the characters and their actions in unfogetable images and calling us back from the language of the 20th Century into the squalor beauty, majesty and ugliness of the 12th. Peter Glenville. the director, could have been fogiven if an element of tedium had permeated the onward flow of the film as dialogue of this high quality cannot be rushed, but his penchant for speeding up the camera following each dramatic episode and cutting cleanly from each scene to the next maintains a momentum that never allows the story to drag or the interest to falter. In short, this must stand as one of the most memorable and compelling historical dramas ever brought to the silver screen, and it enshrines two of the greatest male performances in the pantheon of the cinema.
Technically, the sound and visual qualities are superb, especially given the age of the original. Only the extras disappoint. The musical score is faux Vaughan Willams and does not deserve half-an-hour of critical commentary. The brilliant editing does, but the good lady who did the job and whose reminiscences comprise this segment does n't bring any great insight to explain her craft.
Movie Review: Love, Loneliness, Duty and Expediency. O'Toole's Best.
Summary: 5 Stars
Becket is one of those movies I'd heard about for years from people I trusted, yet never bothered to see. Until today.
What a fine film. Peter O'Toole has working for so long that it's easy to forget that he once cut a striking young figure. And what an actor! He's a rougish Henry II, a clever Norman who finds himself king of England in battle with the Church in the 12th century. His right hand man (and best pal) is local turncoat Saxon Thomas Becket played by Richard Burton. Beckett is somewhat expedient (in the worst sense of the word), clever and a good friend of the obnoxious-yet-entertaining king. The two are bound by tomfoolery and Henry loves Beckett, trusts his counsel and makes him Chancellor of England in the face of opposition from both the barons and the Church. Yet sometimes Thomas quietly intervenes on behalf of his countrymen. Simultaneously as a member of Henry's court he seems to bear a sense of guilt. "Somehow I can never sport the idea of being loved."
Becket is about honor, the honor of perhaps a previous age, but honor nonetheless. Becket's surrender of his woman is terrible, but it comes from his understanding of honor. And when Henry installs his friend Becket as Archbishop, it's with the understanding that Becket's expediency will inform his churchly function. Little could have Henry predicted - in spite of the recognition that his friend was a bit enigmatic - that Becket would take his office seriously. This is also a love story of a sort; the love of a king for his friend, the love of a new believer for an ideal, the sweetness and bitterness of loneliness. The scenes in which Becket submits himself to God and Henry submits to the loss of his friend are exquisite. If "God" is not your thing, substitute "wisdom," "truth," or "enlightenment" and take Becket's prayer in that light. Enjoy the film, the tension, and the tragedy of honor tensioned against friendship, "aesthetics" against "morality," and a more exalted expediency born from someplace within.
Some people may be put off by some of the cinematic techniques of the '60s (e.g. instant, obviously artificial rain during the hunt scene), but for me these things merely mark the time during which the film was made. On the plus side, another mark of this film's era is the exquisitely crafted dialogue. This stuff is spoken poetry, incomparably performed by some of the best actors of the 20th century. There are certain handsome themes in the film; Henry's constant feelings of cold in the land he rules yet is not a part of, and Thomas' comfort in the same land which is his own.
Did I mention Peter O'Toole was fantastic? And Richard Burton's voice is like buttery dark silk. A sidenote: The actor who played the reforming, tumultuous monk John was yet another bright spot in a stellar film.