Becket

Happy Palm Sunday everyone! As you wind down your preparations for Easter, finally throwing off your heinous, self-imposed lenten prohibitions, let us consider Peter Glenville's adaptation of Jean Anouilh's Becket (1964).

King Henry II of England (Peter O'Toole) is engaged in a power struggle with the Church of England over issues of law and taxation. When the Archbishop of Canterbury (Felix Aylmer) dies, Henry is struck with a brilliant idea: appoint his advisor, friend and carousing buddy Thomas Becket (Richard Burton) the new Archbishop! Unfortunately for Henry, his scheme backfires when Becket, long searching for a cause to devote himself to, finds it in his new post. Henry and Becket clash over the murder of a priest, and their confrontation tears Henry apart - and leaves his barons an opportunity to dispose of the treacherous Becket.

Becket invites comparison with A Man for All Seasons, but isn't nearly as good. Unlike Robert Bolt's script, which deftly mixes modern sensibilities with period dialogue, Anouilh's play is intelligent but overwritten, straining for modernity with improbably self-aware characters. It not only plays fast and loose with facts (Becket was not a Saxon in real life), but plays as an anachronistic farce, with Henry, Becket and others speaking like squabbling college students occasionally struck with philosophical insight. Edward Anhalt does what he can to refine the source material, but the film still seems overwritten - though at least not as obnoxious as The Lion in Winter. It's not very convincing as a period piece, and lacks the subtle craft of Bolt's play.

However, Becket works very well as a drama, with a great story and interesting thematic material running through it. Due to excellent direction and some powerhouse performances, it largely transcends the problematic material.

The crux of the play is Henry and Becket's relationship, and their contrasting personalities: Henry the spoiled brat, raised to believe his self-indulgence is of greatest importance; Becket, the low-bred, thoughtful but empty man looking desperately for something to believe in. A clash between these two is inevitable, and in light of later events, their improbably close friendship seems almost baffling. Henry misreads Becket's willingness to serve him as complete devotion, a miscalculation which leads to tragedy for all concerned.

Just as interesting is the film's portrayal of men in power. Henry's thoughtless, destructive exercise of power, tormenting friends and family, and bedding a brace of not-always-willing women - including Becket's lover (Sian Phillips) - is reflected by other characters. The perfidious Bishop Folliot (Donald Wolfit), who abandons his principles to settle a petty score with Becket; the French King (John Gielgud), who subtlely humiliates Henry's envoys (and his own staff); and the murderous Barons, who spend all their time drinking and killing. Politics is reduced to a game of one-upsmanship, with Kings and Bishops whose power is only limited by their rivals.

Glenville's handsome direction is striking, making full use of art direction. Maurice Carter creates some truly astonishing sets; the film was mostly shot on the Shepperton lots, and its cavernous castles and beautifully-ornamented cathedrals are truly a sight to behold. Margaret Furse's radiant costumes are also quite impressive. The movie opens up with crowd scenes and set-pieces (the excommunication of Lord Gilbert being the most impressive), but remains primarily an intimate drama. Laurence Rosenthal contributes a powerful score mixing religious incantations and sweeping orchestra.

Richard Burton gives a career-best performance. Often a stiff and wooden actor, Burton invests Becket with true dignity and strength of character, putting his extraordinary voice to brilliant use. Peter O'Toole gets the easier part, having fun carousing and chewing out his obnoxious family. The supporting cast couldn't be better, with Donald Wolfit (Lawrence of Arabia), Martita Hunt (Great Expectations) and John Gielgud (Gandhi) standing out.

Becket has its share of flaws, but the underlying story remains powerful, and the extraordinary acting and direction makes it a fine film worthy of your two-and-a-half hours.