Becket (1964)

Becket (1964), directed by Peter Glenville.

This adaptation of a play is both talky and rather grand in costumes, sets and panorama. The plot moves along nicely. Like A Man for All Seasons (1966) it is about the collision of Church, State and private conscience. In the commentary Peter O'Toole points out that the modern world is a compromise of the the fractures revealed here: today both force and conviction are allowed their own realms.

It is a showcase for O'Toole and Richard Burton. O'Toole is the callow, boorish king who is learning from his best friend, but maybe the wrong lessons. Burton is the thoughtful, secretly earnest good man who has to abandon convenient loyalty -- to King and State -- in exchange for troublesome -- fatal -- loyalty to Church and God.

Much of the history is bunk: Becket was not a Saxon, throwing much of the class resentment plot out of the window.

O'Toole played the older Henry II in The Lion in Winter (1968), a different sort of costume picture, all about the intrigues of an awful royal family.

In the third photo below he has his hands on his wife, Siân Phillips, in her first credited film role. I'm used to seeing her when older, as in I, Claudius and Dune (1984).

Photographed by Geoffrey Unsworth.

I wasn't going to review this but then listened to Peter O'Toole's freewheeling, uninhibited commentary track. Interviewer: "I will be moderating". O'Toole: "I will be immoderating".

He was a strange fellow. He disclaimed any interest in historical accuracy but knew quite a lot of the history anyway. He was not interested in "character" ("the author writes the character and the actor turns the words into flesh") but he does astute character analysis throughout. And he disdained abstractions and film analysis but is quite perceptive on the meaning of the story and gives many valuable insights.

He says:

• He and Burton were already friends and neighbors, sharing an interest in rugby and drinking.
• Both were notorious for drunken riots, but were well-behaved "good boys" on this film because both of their theater mentors -- John Gielgud for Burton and Donald Wolfit for O'Toole -- were in the cast.
• Like many actors who began in the theater, he emphasized theater discipline. He did intense study of the role in private, then every morning while in their makeup chairs he and Burton would throw the lines back and forth over and over. Then to the set to work it out for the director and cinematographer. Down to the pub together after work.
• On their sort of acting being hammy ("people don't know what that means") or too broad, he says the trend to smaller acting is not necessarily realistic. You should not be quieter on screen than when talking to a friend at dinner.
• Kings put on an act. It is performance.
• Theater lore: if you can convincingly put on a crown you can be a lead. Same for Burton's miter in this case.
• His own crown was cardboard.
• Are actors in competition? "As in scene stealing? Never. More like a jazz band". The actors play off each other and help to achieve something greater.
• The interviewer is constantly amazed that many of the scenes are not on location: "No, Shepperton studio back lot".
• Is it important to be in a real location with real props, doesn't that help the actor? "In no sense. Doesn't matter the slightest to me, just give me a good script".
• Aren't computer graphics pretty bad? "Well, they're new. Give them a minute and they will improve".
• A story: O'Toole was driving by a pub late one night after closing and saw Gielgud outside, very drunk. "I didn't want to leave him there because when drunk John had of habit of wandering where he shouldn't". (He doesn't repeat the account, but years earlier Gielgud was arrested for soliciting sex from another man in a public toilet). "John, let me give you a ride home". "No, dear boy, I'll be fine". "Please, come along now". "No, let me be". As O'Toole was walking away Gielgud called after him: "Peter! You're not as bad as everyone says!"
• The commentary must have been recorded sometime after 2000 because they mention Gielgud's recent death.
• O'Toole saw the original French play in Paris and spoke with the author. It was inspired by a traumatic split in a theater company. Which is why the historical accuracy is so poor: the story is actually about different events and was written for a real "Henry" and "Thomas" who were warring actors.

Available on Blu-ray. The image seems soft to me, like an old master done for DVD.