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“Becket.” Now THERE is a great movie… probably one of the finest “biopics” ever written!! It tells the myth of the relationship between two men: King Henry II of England, great-grandson to William the Conqueror, and Thomas Becket, a Saxon nobleman, a discontinuance friend of King Henry’s, and, ultimately, Archbishop of Canterbury.
As our yarn unfolds, Henry and Becket are inseparable friends. They consume their days feasting at banquets, carousing, wenching, and hunting. Henry (played by Peter O’Toole) appoints Becket (Richard Burton) to the post of Chancellor of England – the equivalent of Prime Minister and Treasurer. Becket is a man completely steady to the King, and a man with a engrossing sense of honor. “Honor is a private matter within,” he tells Henry early in the film. “It’s an opinion, and every man has his hold version of it.”
“Becket” is ultimately a epic of “the honor of God” versus “I am your king.” In an concern to pick up the upper hand in the ongoing controversy between the Church and situation, Henry names Becket to the post of Archbishop of Canterbury. In Thomas Becket, the King sees a proper servant who will plot the wishes of his monarch before everything else. Unfortunately, the King’s hopes for an easy time of it are soon dashed. After becoming the primate of England, Becket rediscovers his personal sense of honor. To Becket, “the honor of God” becomes valid of defending against all who would attack the Church… even if the attacker is the King. When one of Henry’s noblemen kills a priest, Becket orders him haled before an ecclesiastical court. The inevitable showdown between King and Archbishop is at hand.
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Despite the King’s insistence, he refuses to poke from his station that the church courts have jurisdiction in this and all similar cases. His continuing defiance of the King sends Henry into increasingly virulent paroxysms of rage against his weak friend. “I am your king!” he repeatedly tells Becket.
Ultimately, Becket is forced to waft England, but returns after seven years, having agreed to a series of compromises with the King, but not conceding the main points of his argument. The truce is short lived, however. Becket continues to resist Henry’s efforts to intrude into Church affairs. Henry, mad once again, fills the air with oaths against his new-found foe, asking at one point: “Will no-one rid me of this meddlesome priest? ” On December 29, 1170, four of his barons cancel Thomas Becket, Archbishop of Canterbury, on the altar of Canterbury Cathedral.
“Becket” is based on the stage play of the same name by French playwright Jean Anouilh, and adapted for the veil by Edward Anhalt (who won the 1964 “Best Screenplay” Academy Award for his efforts) . It was also nominated for 11 other Oscars, including Best Narrate and Best Actor.
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This is one of those movies where words can’t really direct the depth and quality of the performances turned in by its stars. It’s rare to net a film with one performance of such spacious magnitude; I don’t ever prefer seeing two such quick-witted performances in one movie! For Burton and O’Toole are so very apt in their roles as Becket and Henry, that they seem almost to become the very characters they’re playing. Their acting is refined, unaffected, completely without ego, almost effortless.
“Becket” is one of those helpful mature movies so accepted forty years ago… the kind with world-class actors delivering lines from a fine screenplay; with an titillating subject at its heart; sumptuous sets; and sparkling costumes. Maybe the film doesn’t quite match the tastes of today’s moviegoers as well as it did 37 years ago; but, if you’re looking for some reliable entertainment by the best actors in the business, “Becket” is indeed an edifying choice!
This 1964 film deals with the cancel of the Archbishop of Canterbury, Thomas Becket, after his primitive drinking buddy, King Henry II, famously asked, “Who will rid me of this turbulent priest!? ” Its been a matter of spacious debate whether Henry actually meant to order the assassinate of his venerable friend and, to me at least, this film almost makes the case that Henry’s words were unbiased the impulsive, possibly drunken words of a rather immature man thrust, by heredity, into a area of power he was not yet ready for.
One might assume that the political abolish of a priest in a pre-Reniassance England would develop for a rather dry, humorless film. Luckily, Becket proves them dismal. Though director Peter Glenville was not a flashy stylist and occasionally does allow the film to become a bit stagey, he was also a incredible director of actors and manages to fetch astonishing lead performances from a young Peter O’Toole (as Henry) and even from the normally diffident Richard Burton (as Becket) . When the film begins, it feels very considerable like a comedy. When we first meet Becket and Henry, they are two young, substandard friends who consume most of their time drinking and wenching. Though, as expected, O’Toole is hilarious as the fun-loving monarch, even Burton manages a few slyly sardonic line readings. Years later, in an interview with David Letterman, O’Toole would admit that both the lead actors were drunk during the majority of the shooting and basically objective having a mountainous old-fashioned time of it. Their sense of fun in these early scenes is easily translatable to the audience and its hard not to like these two cross rogues and, perhaps, to even secretly want to rep a time machine and go hang out with them. O’Toole and Burton were friends in right life and the mutual affection the two shared is especially determined and endearing and serves to beget the film’s later events all the more tragic.
The film takes a serious turn when the previous Archbishop dies and Henry, seeing a plan to form things easier for himself, appoints his worn friend Becket to the place. However, once installed, Becket discovers his soul. He becomes a rare example of a man who power does not corrupts but instead serves to purify. As a leader, Becket discovers his lost integrity and tragically, this leads to his gain martyrdom and later canonization. Fittingly, this man redeemed by the church (and who would guess that this would be the premise of such a hilarious, attractive, and downright fun film? ) becomes patron saint of the clergy.
That said, this isn’t really a film about religion as grand as its about friendship and the effect one pays for taking a stand. This is one of the best historical films I have ever seen and should be seen by anyone involved in either a pleasant myth or objective some of the best acting ever build on cloak. There’s something gorgeous about a film that surprises you by defying your expectations and Becket is a expansive example of one of those films.
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