Becket

After having read the other comments, I hardly feel able to improve upon what has already been so eloquently expressed. For anyone who enjoys high-caliber acting, intriguing dialogue, and complex relationships in a film, this is a must-see. I agree with a comment that Burton was shafted the oscar for his performance of Becket. It does seem at times that the Academy veers from rewarding darker, complex, mercurial characters in favor of anaesthitized heroic caricatures. It is one of the greatest tragedies of film-making that the talented are often unrewarded and forgotten. Richard Burton and Peter O'Toole are perfect foils in this film. The souring of their friendship makes a deeply moving story. Historical inaccuracies I can easily forgive; this is a dramatic film, not a documentary, and a director and screenwriter must condense lives into a believable and appealing plot. It is far better to make alterations than to have nothing such as this produced... (Having exposed myself thus, I must own that I am also a history scholar and usually a stickler regarding more inferior productions.) All in all, I recommend this film to anyone who enjoys superior acting and thought-provoking drama.

This movie definitely has some positive attributes, but also some annoying flaws.

It is visually enjoyable, with very nice cinematography and superb costume design. And there is some fine acting, especially by Richard Burton, as well as John Gielgud.

But there are many historical inaccuracies, most of them entirely unnecessary to the story.

For example, Henry may have been harsh with his sons and with his wife, but was kind to his mother Matilda, who had always been very loving and devoted to him. The lack of respect between the two added nothing to the movie.

Thomas Becket was not a Saxon, he was born in London but was the son of a couple from Normandy. Henry was less Norman than Becket, he was the son of an Angevin father, and his mother was a mix of Norman, Scottish, and Anglo-Saxon royalty. Her grandparents were William I, Matilda of Flanders, Margaret of Wessex (a descendant of Alfred the Great, she became St Margaret of Scotland), and Malcolm Canmore, King of Scotland. So Henry II had more Anglo-Saxon heritage (1/8) than Thomas Becket (none).

The conflict between Henry and Becket actually went on for years, and there were many differences between them, not just the decision to execute a priest.

Henry was almost certainly not a homosexual. He considered Becket a good friend and supporter at one time, but the movie makes him out to be madly in love with Becket while having no liking or respect for anyone else.

The actress who played Eleanor of Aquitaine was nothing like her. In reality, Eleanor was an elegant and exceptionally strong woman. The makers of The Lion in Winter made a wiser choice by casting Katharine Hepburn.

'Becket' examines the rather intricate relationship between the headstrong 11th-century King Henry II of England (O'Toole) and his lifelong friend, Thomas Becket (Burton). On the surface, the two appear to be really close chums who spend their time wenching and drinking - king and servant, but friends foremost. However, there are layers below this, as Henry clearly revels in his lust for living and more than a little affection for his servant Becket. Unable to consummate his love for his fellow man, he drowns his desires in women. Becket is much more of an enigma, and his motivations are somewhat elusive. He clearly relishes the company of his king, but is not entirely comfortable with his attentions. He is a Saxon, one of the conquered, requiring him to straddle the gulf between honor and collaboration, serving his Norman King in several capacities – as a valet, a bodyguard and a military adviser. He wears his compromises poorly, and longs for a simpler, honorable way of living.

When the Archbishop of Canterbury dies, with view to subjugate the mighty Church, Henry picks Becket to be the successor, despite not even being an ordained priest, which proves to be his undoing. As soon as the miter is upon his head and the silver cross in his hand, Becket becomes a thorn in the king's side, opposing him on a point of principle, straining their friendship and putting Becket's life in peril. Henry loves Becket, as he adores no other human being in his life, and it hurts him to the core that Becket chooses honor over their friendship. 'Becket' soon moves from power play to power struggle, a struggle that Henry is not ready to lose.

On the surface, Becket appears to be a humdrum king versus a dignified politician war. But, here, the primary conflict is between the throne of England in its debauchery, and the Church, with its compromised morality. The characters, even while wearing robes of power, stink to highest heaven in every sense. While protected by their power, they freely admit the moral sewer they occupy, and serve their gluttonous appetites with aplomb. Absolute power allows the veneer of quality to drip away, and we can be most thankful for this lack of varnish. Just as the characters' loyalties to one another are called into question, so, too are ours: 'Becket' enters a moral gray area from which it never fully emerges.

Becket crackles with whip-smart dialogue and is anchored by a sharp screenplay that finds resonance even today. Peter Glenville directs with a flamboyant hand, but mostly he lets his two leads have free rein, and the results are glorious. Richard Burton is always at his best when reserved, and this is no exception. Peter O'Toole rips into the script as if he invented the art of acting, and belts out some of the best lines. He has a slithery charm that suddenly erupts into volcanic expulsions of blind fury. His chemistry with Burton is ripe with homo-erotic undercurrents, which O'Toole mines with relish in a hysterical performance, full of cunning, eloquence and mad outbursts.

Years later, Becket remains just as incandescent and relevant!

Like most dramas by Jean Anouih (1910-1987), BECKET essentially sets two larger-than-life characters against each other in a relationship fueled by widening ideological rifts. In this instance, the rift is between the holy and the secular. King Henry II of England, who--frustrated by the frequent interference of the Roman Catholic Church in his rule--manages to have friend Thomas Becket appointed as Archbishop of Canterbury. He expects Becket to act on his behalf--and is shocked when Becket undergoes a spiritual transformation and takes his office seriously.

The 1959 play was tremendous successful throughout Europe, in England, and in the United States. In 1964 it reached the screen with Richard Burton as Becket, Peter O'Toole as Henry II, such notables as John Gielgud as Louis VII of France. The film was extremely well-received and received numerous critical accolades, particularly for Burton and O'Toole. It was not, however, widely available to the home market until this 2007 MPI DVD release.

In a technical sense, BECKET looks better than ever; the transfer is very crisp and the picture likely looks better here than it did on the 1964 big screen. At the same time, however, it is very evident that this is a film that really is best seen on the big screen, where the larger than life characters and their ideological battles have the advantage of a scope to equal their nature. It also has a slightly stagey quality, most often in the script, which doesn't quite manage to shed the theatrical trappings of the original.

Even so, there's a great deal to admire, and the leading actors are most certainly chief among them. Burton and O'Toole wench, brawl, argue, and explode with invective with complete conviction; it would be hard, if not impossible, to say which gives the better performance here. Gielgud is particularly memorable in his brief appearance as Louis VII--and Sian Philips, Pamela Brown, and Martita Hunt make the most of their relatively small roles as well.

The DVD has several notable bonuses. I personally found the interviews with Richard Burton, archival footage from 1967 and 1977, slightly over rated--but the "featurettes" on editor Anne V. Coats and composer Laurence Rosenthal are excellent, and the DVD commentary by O'Toole is consistently fascinating. I personally find the film as a whole a bit dry--Coats, tellingly, makes the comment that if the producers had put just a bit more money into BECKET it would have an undeniable masterpiece--but fans of the film will find this particular package an extremely welcome one.

GFT, Amazon Reviewer

My comments here tend to be Misremembrances of things past. I know I saw "Becket" decades ago while I must have been suffering from a periodic bout of reviling Richard Burton. Having recently seen "Cleopatra" again, I will forgive myself. Still, there are movies that I've enjoyed - "The Spy Who Came in from the Cold" and "The Night of the Iguana", to name 2 - so I thought I'd give "Becket" another try.

Historical movies are among my favorites, although the IMDB parameter of not spoiling restricts me from discussing plot. But this is a movie that made me click on here to see who directed it...since directing Burton and O'Toole must have been like being a meterologist tracking a tornado and a hurricane. Their synergy is astounding...but whereas O'Toole launches himself on occassion into a thespian stratosphere it is Burton's performance that is incandescent. There are scenes..."inner monologues" - queries to God, where the ribald Burton is transformed into a man illuminated by a spiritual puzzle - he cannot believe that he is becoming who he is becoming - and it is Burton's challenge to share that bewilderment with us.

Well, I'm comforted that I can now stretch the glory days of historical film-making at least to "Becket." Any film in which John Gielgud, Martita Hunt, Felix Aylmer and Pamela Brown are "supporting" - how do I put it, "supporting" performances such as these are most other actors' triumphs. The costumes and sets are sumptous. Finis.