Becket

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.

What p****s me off about this film is that it, like "Metropolis", is a forgotten one. Why? Why is it that everything has to be razzle-dazzle eye candy, instead of a subtle, beautiful, fine piece of craftsmanship and storytelling. "Becket" was tough to watch, because of all the grain and clicks on the neglected print. But past all of the distortion of a neglected print, I found a very remarkable and exquisite achievement that ranks among some of the best films ever made! The craftsmanship is just the beginning! It gets better! Peter O'Toole, who ironically, played Henry II years later in "A Lion in Winter", does a superb job. He's so angry, volatile, and above all, whiny. When I saw the Disney version on "Robin Hood", with Peter Ustinov playing the voice of the whiny Prince John, I felt it was directly inspired by Peter O'Toole's Henry II! He was so good at being a great whiner. And Richard Burton, as Thomas Becket, looks so reserved, strong, and reverent, as a friend of Henry II who's faith and belief in God and serving the people, brings a rift in their friendship. I also felt bad that not only was this a crappy print, but also that the beautiful photography seemed so small on the TV. This is the kind of film that needs to be seen on the big screen in order to fully appreciate it. I hope that this gets some more respect and popularity, because it needs it and it has deserved it for years!

¨In the year 1066 William of Conqueror crossed from France with his Norman army and conquered the Saxons of Britain at the battle of Hastings , Henry II his great grandson continued to rule over the oppressed Saxons peasants . Backed by the swords of his Barons and by the power of his imported Norman clergy¨ . This historic picture is based on real events , a studio detail about Becket (1117-1170) who was chancellor of Henry II Plantagenet but then he opposed to sign the rules of Clarendon (1164) that established superiority of king over clergy , he was then banished France and when he returned succeeded the tragedy . Henry II (1133-1189) dominated nobles and clergy , he married Eleanor of Aquitaine that caused the confrontation with Louis VII (an eye-catching playing by the veteran John Gielgud) of France . Becket (flawless acting by Richard Burton) is named Archbishop of Canterbury and his religious mission is strictly taken with opposition to Henry II (a first-rate performance by Peter O'Toole and similar king role to 'Lion in Winter') of Plantagenet who governed England from 1154 to 1189 ; this leads to notorious and sparkling phrase by the king: 'Who will rid me of this turbulent archbishop' .

This is a splendid rendition of Jean Anouilh's play , as translated by Lucienne Hill , produced upon the New York stage by Merrick and good detailed artistic direction made at Shepperton studios -England- . It deals about the stormy friendship between Becket , appointed as Archbishop of Canterbury , and king Henry II . Although the film depicts Becket as a Saxon , he was actually a Norman like King Henry II . The closeness between King Henry and Becket is depicted as being a purely platonic one ; homosexuality was still illegal in the UK when the film was made in 1963, and any suggestion of that would have fallen foul of the censor . However it is still implied that Henry is in love with Becket . Magnificent studded-secondary-star cast , as Donald Wolfit as bishop , Paolo Stoppa as Pope Alexander III , Gino Cervi as the flamboyant Cardinal , Pamela Brown as Queen Eleanor , Martita Hunt as Queen Mother , Percy Herbert and Neal McGinnis as the Barons ; plus , Sean Phillips married to Peter O'Toole . Atmospheric , appropriate cinematography by the great Geoffrey Unsworth . Evocative musical score with religious chores by Laurence Rosenthal and usual musical conductor by Muir Mathieson . The picture obtained Academy Award , 1964 , to adapted screenplay and Golden Globes to dramatic actor for Peter O'Toole and the best film drama . The flick was stunningly directed by Peter Grenville who reflects correctly an exciting slice of history . Rating : Better than average . This is a superior and powerful historic drama to be liked by historical cinema buffs .

'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!

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.