“Becket.” Now THERE is a estimable movie… probably one of the finest “biopics” ever written!! It tells the memoir of the relationship between two men: King Henry II of England, great-grandson to William the Conqueror, and Thomas Becket, a Saxon nobleman, a halt friend of King Henry’s, and, ultimately, Archbishop of Canterbury.
As our anecdote 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 staunch to the King, and a man with a appealing sense of honor. “Honor is a private matter within,” he tells Henry early in the film. “It’s an understanding, and every man has his absorb version of it.”
“Becket” is ultimately a anecdote of “the honor of God” versus “I am your king.” In an pains to derive the upper hand in the ongoing controversy between the Church and area, Henry names Becket to the post of Archbishop of Canterbury. In Thomas Becket, the King sees a dependable servant who will situation 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 agreeable 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 crawl from his set 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 stale friend. “I am your king!” he repeatedly tells Becket.
Ultimately, Becket is forced to wing 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, excited 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 slay 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 camouflage by Edward Anhalt (who won the 1964 “Best Screenplay” Academy Award for his efforts) . It was also nominated for 11 other Oscars, including Best Represent and Best Actor.
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This is one of those movies where words can’t really stutter the depth and quality of the performances turned in by its stars. It’s rare to rep a film with one performance of such immense magnitude; I don’t ever lift seeing two such bright performances in one movie! For Burton and O’Toole are so very capable 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 advantageous former movies so current forty years ago… the kind with world-class actors delivering lines from a satisfactory screenplay; with an attractive subject at its heart; sumptuous sets; and lustrous 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 marvelous entertainment by the best actors in the business, “Becket” is indeed an great choice!
This 1964 film deals with the assassinate of the Archbishop of Canterbury, Thomas Becket, after his customary 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 abolish of his obsolete friend and, to me at least, this film almost makes the case that Henry’s words were impartial the impulsive, possibly drunken words of a rather immature man thrust, by heredity, into a spot of power he was not yet ready for.
One might reflect that the political destroy of a priest in a pre-Reniassance England would beget for a rather dry, humorless film. Luckily, Becket proves them faulty. 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 obtain fabulous 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, depraved friends who exercise 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 unprejudiced having a large worn 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 corrupt 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 true life and the mutual affection the two shared is especially sure and endearing and serves to manufacture the film’s later events all the more tragic.
The film takes a serious turn when the previous Archbishop dies and Henry, seeing a scheme to produce things easier for himself, appoints his musty friend Becket to the region. 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 believe 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, gripping, and downright fun film? ) becomes patron saint of the clergy.
That said, this isn’t really a film about religion as mighty as its about friendship and the note one pays for taking a stand. This is one of the best historical films I have ever seen and should be seen by anyone alive to in either a suited myth or honest some of the best acting ever attach on camouflage. There’s something splendid about a film that surprises you by defying your expectations and Becket is a astronomical example of one of those films.
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