Becket (1964) 7/10 Was pleasantly surprised by this lesser known biographical fiction. Synopsis made it seem extremely boring. Procrastinated on seeing it, regret that now. At 2.5 hours, it is noteworthy that I felt like it ended too soon. Obvious that Peter O'Toole started in theater, he overacts, his voice level is a tad higher than all the other characters, and it seems like he is yelling all the time. Not sure I liked that; this is not to say his performance was necessarily inferior, but that it was better suited for the stage. Director did take liberties with historical facts, the most prominent one being that Becket was not even a Saxon, but a Norman. This was actually quite a significant detail in the film, referenced more than once. The writer of the play that this film is based on did figure that out, but decided to leave it in because it made for a better story. Well, of course it does, but it also makes for a more historically inaccurate one. This is regrettable, for I feel as if it could have been as good with the facts accurate. Two phenomenal actors. Two phenomenal characters. They do not try to outshine each other, but Richard Burton easily wins this one. A man at first uncertain and then a little ambiguous with his loyalties, with a tendency to convince everyone, himself included, that he does not care about anyone or anything. His acting was such that I could see him as an ideal King. The supporting performances were all on point, although I do wish there was some more character exploration and explanation on various relationships that were merely touched upon, such as Henry & his mother Matilda, Henry & his wife Eleanor, Henry & his son Henry III, Becket & Lady Gwendolen, whom he obviously has feelings for. The relationship between King Henry II & Becket is mostly seen as platonic, but Henry does use the word "love" a few times. Because of censors at the time of the filming (homosexuality was still illegal), little more was shown. This is a disappointment. "Yes, I loved him. And I still do... I am as useless as a woman. So long as he is alive I tremble, I shake. I am the king, yet I shake. Will no one rid me of this meddlesome priest?... My heart!" #FilmReview

It's a strange experience re-viewing a movie half a century (or almost) after the first viewing. When ' Becket ' appeared on the Romanian screens the year must have been 1964 (the year the film production ) or 1965. My emotional and selective memory kept the character of Becket and the image of Richard Burton about whose career I was already fully aware that time. I did not know Peter O'Toole well yet, or in any case I was not aware enough of his stature. For reasons that only censorship in Romania at that time knows that film about pious Saint Thomas Becket was brought to screens, but the one about the hero dedicated to the Arab national cause 'Lawrence of Arabia' was not. It's probably only after I saw ' Man of La Mancha ' that I understood what a huge actor O'Toole was. The main lines of the conflict between King Henry II and the Bishop of Canterbury were clear to me, and I remembered them when half a life later we visited Canterbury and I stepped onto the tiles once stained with the blood of St. Thomas.Based on a play by Jean Anouilh 'Becket' was first a hit on Broadway (with Lawrence Olivier and Anthony Quinn in the lead roles) and then in the West End where Eric Porter and Christopher Plummer played directed by Peter Hall. Peter Grenville, the director of the American version assumed the task of directing the film produced at the legendary Shepperton Studios in England. 'Becket' is a historical drama that largely follows the tradition of the great Shakespearean adaptation, however, the text of Jean Anhouilh balances the historical conflict with the story of a passionate friendship between two great men who have shared the stage history of the period in which they lived.Almost a hundred years after the invasion of England, the Norman ruling class continues to be in conflict with the invaded Saxons. For Anhouilh the political dimension of the text is clear, the play was written and first staged in Paris 15 years of the liberation of France and the end of the collaboration with the German occupiers. Does Thomas Becket 's vision represents an absolution carried by Anhouil of the act of collaboration with the occupiers, in a situation when they know that violent resistance can lead to nothing but a heroic death? This dilemma is present mainly in the first part of the play and the film gradually shits its focus to the religious and personal conflicts between the two main characters. Becket's character seems to be made ​​of the material of which martyrs are made, but historical righteousness is actually on King Henry's side. Centralization of state and the principles of equality in face of the law of all citizens are historical phenomena that will prevail in the coming decades and will form the basis of the first written constitution in European history. Blood spilled in Canterbury , reconciliation and penance undertaken by king will cement the English nation and will define the balance of powers between the Kingdom and the Church of England.Like many historical blockbusters of the time 'Becket' touches today in places other than the ones that resonated with the audiences half a century ago. The accuracy of the historical reconstruction has been perfected in many other productions that followed, on the other hand none brought on the same screen two great actors in film history at their maximum intensity. Burton was at the peak of his career, this was one of his last major roles before entering the descending slope (in roles on screen and in life). I dare say though that besides the fact that Burton's eyes are more blue, Peter O'Toole surpasses him in almost all aspects and King Henry survives better than 50 years of life on the screen added to the 800 years of history. While Becket's character evolves from Saxon nationalism to predictable holiness, King Henry is torn between blind faith in friendship, disappointment in the face of what he perceives to be betrayal, misunderstanding of the reasons and motivation of the actions of his friend, Machiavellianism and Pharisaism . O'Toole created with passion and cruelty a character whose cynicism includes all the psychological motivations for the acts they commit. The final scene includes the premises of reconciliation between state and church, by the King act of apparent penance and hypocrite sanctification of the man whose death King Henry ordered, leading to the subordination of the Church of England to the Crown. The balance of power between the two characters turned upside down in history.

As so many other reviewers have noted, this is one of the finest films ever made. You may note the many long theatrical takes, and the limited cutting that allows you to watch the simultaneous acting of both the speaker and the auditor to the speeches. I see that some reviewers have lamented the shape of the prints that they have seen. I am delighted to report that the DVD is utterly sparkling, claimed on the disc to be better than the new screen version in 1964. Both the leads were nominated for best actor, and either could have won. I assume they split the vote to allow Rex Harrison in. A few have noted that Lawrence Olivier played Becket to Anthony Quinn's Henry. But I haven't noted any who have mentioned that Peter O'Toole was to have played it on the stage, but passed it over for Lawrence of Arabia. Nor have they mentioned that later Olivier and Quinn alternated roles. That would have been bloody marvelous to see.

BECKET is a film that seeks to explore the friendship and eventual enmity that existed between Henry II and Thomas Becket, two of the most famous characters in British history. Based on a play and filmed with an exemplary cast, it's a fine example of the kind of serious, old-fashioned, historical drama they don't make much of anymore.The film is inevitably dominated by the presence of two acting heavyweights in the form of Peter O'Toole and Richard Burton. O'Toole is very good as the fey, fun-loving king, but Burton is even better as the religious man suffering a crisis of conscience.The film is slow-moving and long-winded, but somehow it still works. The history is interesting, the scene-setting helps to add a real air of authenticity, and it's great seeing familiar faces (Gielgud, Phillips, Wolfit) fleshing out the cast.Watch for the final encounter between king and subject on the beach. Possibly the most beautifully filmed moment of cinema I've seen - check out the sky and the sea, the costumes and the hollow faces of O'Toole and Burton. Cinema really doesn't get any better than this...