BECKET

from Magill's Survey of Cinema, 15 Jun 1995.

Abstract:
Richard Burton is Thomas Becket and Peter O'Toole is King Henry II in this intelligent, award-winning adaptation of Jean Anouilh's play. The story traces the long friendship between the two men and the tragic falling out that occurs when Becket's religious duties as Archbishop of Canterbury conflict with his loyalty to the King.

Summary:
The film BECKET, adapted from Jean Anouilh's play of the same name, presents one of those rare instances in which the motion picture medium is better suited to the script than the stage production. Edward Anhalt, who won an Academy Award for Best Screenplay based on material from another medium, actually did very little adaptation, following Anouilh's script as closely as possible. The fact that the plot is unfolded almost entirely as a flashback is an attribute of the film version which the stage version lacks. The many outdoor scenes, especially those in which the characters are on horseback, are also better realized in the film; in the stage version, the actors gave the impression of riding by hopping around on hobby-horses. Most significantly, the film was shot on location, and the award-winning cinematography beautifully captures the pageantry and gusto of life in twelfth century Plantagenet England.

The film begins with King Henry II (Peter O'Toole) doing penance before the sarcophagus of the recently murdered Thomas Becket (Richard Burton), his erstwhile close companion. In Anouilh's version, Thomas was a Saxon and of similar age to Henry. Historically, the real Becket was fifteen years older, and although he was born in London, his parents were both Normans, the same as Henry's. The conflict in the film is a personal one, depicting Henry as a frivolous, pleasure-loving member of a foreign race opposed to an ambiguous, somewhat aloof collaborator of the conquered nation.

As the King reminisces about his relationship with Becket, the film presents a flashback showing the comradeship of the two men -- how they faced down the clergy in the debate over taxes; how pleased both were over Becket's appointment as Chancellor of England; how they often went wenching or hunting together in the forest. Henry's affection for Becket is clearly shown, while Becket seems more reserved toward Henry; his language is always qualified, and the King is never sure of his love. In a very revealing scene the two take refuge during a rainstorm in a Saxon peasant's hut where the King, who conceives of all Saxons as "dogs," lecherously eyes the peasant's daughter. Becket contrives to save the girl from the King's lust by pretending that the wound he has actually received from her brother has been caused by the horses, and requesting her as his reward for protecting the King. Becket's nationalism comes before his friendship.

In another scene the drunken King asks Becket for his mistress; when Becket assents, Henry asks him whether he would take her back, and Becket says he would not. Becket's aloofness includes even her; he says to her that he does not like being loved. Before the King can take her, Gwendolen (Sian Phillips), Becket's mistress, commits suicide, and the shaken King insists on spending the night with Becket.

The crucial action of the film is Henry's appointment of Becket as Archbishop of Canterbury. Becket is fearful of the plan. He tells Henry that if he becomes Archbishop, he will no longer be able to be Henry's friend because he would be incapable of serving both God and the King. Nevertheless, Becket is made Archbishop; afterwards, he undergoes a behavioral change to live up to his appointment. He disposes of his customary material wealth and gives up the Chancellor's seal. The film's major crisis arises when Becket refuses to allow his clergy to be tried in secular courts. Henry orders Becket to trial, but Becket turns the trial into a personal victory by forbidding the court to utter the sentence under threat of excommunication. Henry admires Becket's ploy but he is taunted by Queen Mother Matilde (Martita Hunt), who suggests something "unhealthy and unnatural" about the King's obsession with his friend; indeed, the matter of Henry's homosexuality is hinted at throughout the film.

Becket takes refuge in France with King Louis VII (John Gielgud), who, for political reasons, refuses to extradite him. Pope Alexander III and his cardinals are satirized in a scene in which they hypocritically accept Henry's "contribution" and relieve Becket of the archbishopric only to reappoint him properly and send him to a French convent to live on bread and water. After Louis VII informs Becket that he must withdraw his protection, Becket announces that he had planned to return to England anyway. Louis arranges a meeting between King Henry and Becket, who attempt a reconciliation at the seashore in one of the most effective scenes of the film. They indulge in small talk in order to avoid the real issues, but Becket finally agrees to all the articles except the one dealing with his clergy, whom he says he must protect. To the King's query of whether he has ever really loved him. Becket replies that he did as far as he was capable, but that it is the honor of God that he has truly started to love.

Becket's murder by King Henry's barons is portrayed dramatically with Becket, dressed in his best finery, anticipating "the supreme folly." His alter ego, Brother John (David Weston), a Saxon monk whom he has taken under his protection, attempts to fight the barons but is immediately struck down; this is followed by the cruel and vicious murder of Becket himself.

The film closes as it began, with King Henry in the same spot where Becket has been martyred; he is being whipped by Saxon monks in retribution for his part in the crime. The King realizes that his action of proclaiming Becket a Saint as well as his orders to seek out and punish the murderers will help secure his position as King in this foreign country. Yet the main feeling the audience is left with is that of Henry's perplexity at the loss of his favored subject.

It is difficult to single out the excellent aspects of this film. In addition to the Academy Award it received, the film was also nominated for Best Picture of the Year, Best Director, Best Actor (both Richard Burton and Peter O'Toole, who lost to Rex Harrison for his role in MY FAIR LADY), and Best Supporting Actor (John Gielgud as King Louis VII). The interplay between O'Toole and Burton is universally acclaimed as a tour de force, while the superb settings are breathtakingly underplayed behind the drama between the two main characters. An example of this is the scene in which Henry divulges his plan to name Thomas Archbishop. Almost unobtrusively, a typical twelfth century mural allegorically portrays the fall of pride in the background.

One criticism of the film may be traced to the play from which it is adapted. For the length of the film, the script contains much dialogue and little action. Director Peter Glenville, who also directed the Broadway stage production, may not have sufficiently made the transference to the more expansive medium of film. He did, however, alter the conception of the two leads in his casting of O'Toole and Burton. (The stage version reversed the types, casting Anthony Quinn as a more masculine, gruff Henry and Laurence Olivier as Becket, although Olivier has played both roles at different times.)

In addition to the Academy Award, BECKET was named the best English language picture by the National Board of Review, the best motion picture in the drama category by the Golden Globe Awards, which also named O'Toole the best actor; and the screenplay won the best written American drama award from the Writers Guild of America. A moving intellectual experience universally recognized as one of the better adaptations of a stage play for the screen, BECKET has not achieved the box-office ratings of those pictures with more popular appeal. Yet, it is the type of picture which will always remain fresh and stunning for its own audience.


Release Date: 1964

Production Line:
Hal B. Wallis for Paramount

Director: Peter Glenville

Cinematographer: Geoffrey Unsworth

File Editor: Anne V. Coates

Run Time: 148 minutes

Cast:
Thomas Becket - Richard Burton
King Henry II - Peter O'Toole
Bishop Folliot - Donald Wolfit
King Louis VII - John Gielgud
Queen Matilda - Martita Hunt
Queen Eleanor - Pamela Brown
Gwendolen - Sian Phillips
Brother John - David Weston
Pope Alexander III - Paolo Stoppa
Cardinal Zambelli - Gino Cervi
Archbishop of Canterbury - Felix Aylmer
Baron - Niall MacGinnis
Baron - Percy Herbert
Baron - Christopher Rhodes
Baron - Peter Jeffrey
Duke of Leicester - Inigo Jackson
French Girl - Veronique Vendell
Bishop of Winchester - John Phillips
Bishop of York - Frank Pettingell
Bishop of Chichester - Hamilton Dyce
William of Corbeil - Patrick Newall
Prince Henry - Riggs O'Hara
Brother Philip - Geoffrey Bayldon
English Peasant - Gerald Lawson
Peasant's Daughter - Jennifer Hilary
Farmer's Daughter - Linda Marlow
Pope's Secretary - Graham Stark
French Tailor - Victor Spinetti
Girl on Balcony - Magda Knopke

Review Sources:
Newsweek: March 23, 1964, p.95
New York Times: March 12, 1964, p.40
Time: March 20, 1964, p.94
Variety: March 4, 1964, p.6

Named persons in Production Credits:
Hal B. Wallis

Studios named in Production Credits:
Paramount

Screenplay (Author):
Edward Anhalt
Jean Anouilh

Color

Video Available.
Genre:
Drama, Family Viewing, Historical

Award Citations:
Academy Awards - Nomination - Best Picture
Academy Awards - Nomination - Best Director - Peter Glenville
Academy Awards - Nomination - Best Actor - Richard Burton
Academy Awards - Nomination - Best Actor - Peter O'Toole
Academy Awards - Nomination - Best Supporting Actor - John Gielgud
Academy Awards - Winner - Best Screenplay (based on material from another medium) - Edward Anhalt
Academy Awards - Nomination - Cinematography (Color) - Geoffrey Unsworth
British Academy Awards - Winner - Best Cinematography (British Film) Color - Geoffrey Unsworth
British Academy Awards - Winner - Best Art Direction (British Film) - John Bryan
British Academy Awards - Winner - Best Costume Design (British Film) Color - Margaret Furse
Golden Globe Award - Winner - Best Motion Picture-Drama
Golden Globe Award - Winner - Best Actor-Drama - Peter O'Toole