Becket

Moving on to the next Best Picture nominee from 1964, I turn to Becket, directed by Peter Glenville, based on the play by Jean Anouilh. The big selling point here is that it teamed up (I believe for the only time) the great British actors Richard Burton and Peter O'Toole.

This movie is great fun and acted to the hilt. But, in retrospect, it's impossible to view this film without thinking of The Lion in Winter, in which O'Toole played the same part, Henry II of England. He essentially plays him the same way--a witty but obnoxious man who enjoys being king and has very little patience (but eagerly needs love). The films, that were not made by the same people and have nothing in common but O'Toole, would make a great double feature, if only on the life of Henry II.

This film is set earlier than Lion. Henry has a favorite drinking and wenching buddy, Thomas Becket (Burton) who is Saxon, while the nobility are Norman, who view Saxons as ignorant peasants. Nonetheless, Becket is a great adviser to Henry, and is made Lord Chancellor. Henry is at odds with the church. He wants to tax them for his war against the French. Becket takes his side.

After the Archbishop of Canterbury dies, Henry has the great idea to name Becket to the post, even though the latter is not even a priest. Becket begs him not to do it, but Henry presses ahead, thinking he will have a puppet. But Becket, once installed, realizes his oath is now to God, and not the king. Henry is deeply wounded, and tries to have him arrested, but Becket flees to France on his way to petition the Pope.

This film is fascinating in its view of the loneliness of Henry--he really only has Becket to call a friend, and when he loses that, he is bereft. He is married to Eleanor of Aquitaine (here played by Pamela Brown), and he spars with her just like he will with Katharine Hepburn in Lion. He hates his children, and his debauchery is legendary, but without Becket he is like a small child. "I am bored!" he shouts.

But even though he and Becket are great friends, he always flexes his power. At one point, Becket saves a peasant girl from life as a castle whore, but Henry says Becket must grant him a favor in return. He will end up demanding the only woman that Becket was close to loving.

Becket, for his part, is a man who seems incapable of feeling anything. This is frequently mentioned, and it plays out that God is the one thing that can fill his heart. There is much talk of "honor," specifically the honor of God, and Becket, when push comes to shove, is the man who keeps it.

The pageantry of the film is gorgeous. The scene of Becket's installation is too long, but I got chills at an excommunication service (this film is set in the 12th century, and even though the nobles do anything they want, they still fear excommunication). There are scenes with hundreds of extras, but the best scenes are those that feature just a few, especially Becket and Henry's final meeting, each on horseback, on the beach in France.

Both men received Oscar nominations, as did John Gielgud for his delicious cameo as King Louis of France. The screenplay won Best Adapted Screenplay.

I visited Canterbury years ago, and there's a candle burning in the cathedral of the spot Becket was killed. It's a simple memorial (a larger, Catholic one was torn down by Henry VIII). It was very touching. However, this film is not exactly historically accurate. For one thing, Becket was not a Saxon. Anouilh discovered this only after he had started writing the play, and he decided not to change it because then he really wouldn't have a play. I'm not sure Henry ever said, "Is there no one who will rid me of this meddlesome priest?" but I choose to believe he did.