IMDb > A Man for All Seasons (1966)
A Man for All Seasons
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A Man for All Seasons (1966) More at IMDbPro »

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A Man for All Seasons -- Trailer for this Oscar winner

Overview

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8.0/10   19,246 votes »
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Director:
Writers:
Robert Bolt (from the play by)
Robert Bolt (screenplay)
Contact:
View company contact information for A Man for All Seasons on IMDbPro.
Release Date:
1967 (Japan) See more »
Genre:
Tagline:
...a motion picture for all times!
Plot:
The story of Thomas More, who stood up to King Henry VIII when the King rejected the Roman Catholic Church to obtain a divorce and remarriage. Full summary » | Full synopsis »
Awards:
Won 6 Oscars. Another 28 wins & 5 nominations See more »
User Reviews:
What Profit In Selling One's Soul? See more (149 total) »

Cast

  (in credits order) (verified as complete)

Paul Scofield ... Thomas More

Wendy Hiller ... Alice

Leo McKern ... Cromwell

Robert Shaw ... Henry VIII

Orson Welles ... Cardinal Wolsey

Susannah York ... Margaret

Nigel Davenport ... Duke of Norfolk

John Hurt ... Rich

Corin Redgrave ... Roper
Colin Blakely ... Matthew
Cyril Luckham ... Archbishop Cranmer

Jack Gwillim ... Chief Justice
Thomas Heathcote ... Boatman
Yootha Joyce ... Averil Machin
Anthony Nicholls ... King's Representative
John Nettleton ... Jailer
Eira Heath ... Matthew's Wife
Molly Urquhart ... Maid
Paul Hardwick ... Courtier
Michael Latimer ... Norfolk's Aide
Philip Brack ... Captain of Guard
Martin Boddey ... Governor of Tower
Eric Mason ... Executioner
Matt Zimmerman ... Messenger

Vanessa Redgrave ... Anne Boleyn
rest of cast listed alphabetically:
Raymond Adamson ... (uncredited)
Trevor Baxter ... 1st Man (uncredited)
Sylvia Bidmead ... Young Woman (uncredited)
Jack Bligh ... Old Man in Scene 33 (uncredited)
Bridget Brice ... Young Woman (uncredited)
Jan Carey ... 2nd Girl (uncredited)
Gladys Dawson ... Old Woman (uncredited)
Edwin Finn ... 1st Scholar (uncredited)
Laura Graham ... 4th Girl (uncredited)
Raymond Graham ... Academic (uncredited)
Gay Hamilton ... 2nd Handmaiden / 3rd Girl (uncredited)
Fiona Hartford ... 1st Girl / 1st Handmaiden (uncredited)
Drewe Henley ... (uncredited)
Walter Horsbrugh ... 2nd High Court Judge (uncredited)
Ross Hutchinson ... 4th Courier (uncredited)
Donald Layne-Smith ... 2nd Scholar (uncredited)
Graham Leaman ... 1st Monk (uncredited)
Patrick Marley ... 2nd Monk (uncredited)
Julie Martin ... 2th Maid (uncredited)
Robert Mill ... Servant (uncredited)
Robert Morris ... Gentleman Usher (uncredited)
Arnold Peters ... 6th Courier (uncredited)
Christine Pollon ... 1st Woman (uncredited)

Arnold Ridley ... Innkeeper (uncredited)
Iain Sinclair ... 3rd Man (uncredited)

Nick Tate ... Master At Arms (uncredited)
Michael Wade ... 2nd servant / 2nd Young Man (uncredited)
Gina Warwick ... 3rd Handmaiden (uncredited)
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Directed by
Fred Zinnemann 
 
Writing credits
Robert Bolt (from the play by)

Robert Bolt (screenplay)

Produced by
William N. Graf .... executive producer
Fred Zinnemann .... producer
 
Original Music by
Georges Delerue (music composed by)
 
Cinematography by
Ted Moore (photographed by)
 
Film Editing by
Ralph Kemplen 
 
Casting by
Robert Lennard (casting)
 
Production Design by
John Box 
 
Art Direction by
Terence Marsh 
 
Makeup Department
Eric Allwright .... makeup
Helene Bevan .... hairdresser (as Helen Bevan)
Gordon Bond .... hairdresser
George Frost .... makeup
 
Production Management
William Kirby .... production supervisor
 
Second Unit Director or Assistant Director
Peter Bolton .... assistant director
Patrick Carey .... second unit director
Al Burgess .... assistant director (uncredited)
Bill Graf .... second assistant director (uncredited)
 
Art Department
Peter Dukelow .... construction manager
Josie MacAvin .... set dresser
Roy Walker .... assistant art director
 
Sound Department
Buster Ambler .... sound
Marcel Durham .... assistant editor
Bob Jones .... sound
Harry Miller .... dubbing editor
 
Stunts
Nosher Powell .... stunts (uncredited)
 
Camera and Electrical Department
Bob Kindred .... camera operator (as Robert Kindred)
Maurice Gillett .... supervising electrician (uncredited)
Mike Roberts .... camera operator (uncredited)
Robert Willoughby .... special still photographer (uncredited)
 
Costume and Wardrobe Department
Joan Bridge .... colour costume design
Jackie Cummins .... wardrobe
Elizabeth Haffenden .... colour costume design
 
Music Department
Georges Delerue .... music conducted by
 
Other crew
Patrick McLoughlin .... technical adviser
Constance Willis .... continuity
Catherine O'Brien .... unit publicist (uncredited)
 
Crew believed to be complete


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Additional Details

Also Known As:
Runtime:
120 min
Country:
Language:
Color:
Color (Technicolor)
Aspect Ratio:
1.66 : 1 See more »
Sound Mix:
Mono (Westrex Recording System)
Certification:
Argentina:13 | Australia:G | Brazil:Livre | Finland:K-12 | Iceland:L | Singapore:PG | Spain:13 | Sweden:11 | UK:U | UK:U (video rating) (1986) (1998) (2000) | USA:G | USA:TV-PG (TV rating) | USA:Approved (original rating) | West Germany:12 (nf)

Did You Know?

Trivia:
Dirk Bogarde was considered for the role of Sir Thomas More.See more »
Goofs:
Continuity: In the opening scene, when Wolsey is sealing the letter to More with wax and his official seal, after he hands the letter to Cromwell and he folds it and pours the sealing wax, there is a string of wax that trails from the ladle and over the letter. Yet in the closeup when Wolsey is applying his official seal, that trail of wax is gone, and the letter is clear of any dripped wax. Also, it's obvious that the long shot and the closeup of Wolsey applying the seal are separate takes: the blob of wax in the long shot is smaller than that in the closeup, and the letter is folded differently (there's more of an overlap in the folded letter in the closeup).See more »
Quotes:
[first lines]
[first spoken lines are over 6 minutes into the film]
Man:...there's the country every second bastard born is fathered by a priest.
Matthew:[clears throat to get More's attention]
Man:Why, in Utopia, that couldn't be.
Man:But why?
Man:Well, there the priests are very holy.
Man:Therefore, very few.
Sir Thomas More:Is it anything interesting, Matthew?
Matthew:Bless you, sir, I don't know.
[...]
See more »
Movie Connections:

FAQ

Is'A Man for All Seasons' historically accurate?
See more »
51 out of 58 people found the following review useful.
What Profit In Selling One's Soul?, 3 April 2005
Author: Bill Slocum (bill.slocum@gmail.com) from Greenwich, CT United States

Fred Zinnemann's one of our great forgotten directors, amazing considering that he was nominated for eight directing Oscars in four decades, winning two. Today's critics and auteurs don't champion him; you won't read much about him in "Entertainment Weekly." For Zinnemann, the script was the thing, what he worked from, and his greatest genius may have been in choosing the right scripts and knowing how to do them justice.

"From Here To Eternity" may well be Zinnemann at his highest tide, though IMDb voters seem to prefer "High Noon." Then there's "A Man For All Seasons," the film of the year in 1966, though its hard to imagine a film that represents the ethos of the 1960s less. "A Man For All Seasons" presents us with an unfashionable character who refuses to surrender his conscience to the dictates of king and countrymen, resolute instead in his devotion to God and Roman Catholic Church.

"When statesmen lead their country without their conscience to guide them, it is short road to chaos," Thomas More tells his nominal boss, Cardinal Wolsey, when the latter unsuccessfully presses him to give his blind assent to King Henry VIII's request for a convenient divorce. Perhaps out of pique, Wolsey makes sure More inherits his office of Counselor of the Realm, where More's sterling convictions are really put to the test.

More is a marvel of subtleties, tensile steel covered in a velvet glove, a mild-mannered lion trying at every turn to do well even though his political savvy knows how dangerous that can be. As a lawyer, More knows the angles, yet he is no sharpie. He respects the law too much for that. Rather, he sees in law the only hope for man's goodness in a fallen world. "I'd give the Devil benefit of the law, for my own safety's sake," he explains.

Paul Scofield plays More in such a way as to make us not only admire him but identify with him, and come to value both his humanness and his spirituality. His tired eyes, the way he gently rebuffs would-be bribers around Hampton Court, his genuine professions of loyalty to Henry even as he disagrees with the matter of his divorce, all speak to one of those great gifts of movies, which is the ability to create a character so well-rounded and illuminating in his window on the human condition we find him more haunting company than the real people we meet in life. It's a gift the movies seldom actually deliver on, so when someone like Scofield makes it happen, it is a object of gratitude as much as admiration.

The script, adapted by Robert Bolt from his stage play, is very literate and careful to explain the facts of More's dilemma. It moves too slowly and opaquely at times to qualify "A Man For All Seasons" as a true classic, that and a supporting cast full of one-note performances, though some are quite good (a few, however, are notably flat.) I especially liked Robert Shaw as a young and thin Henry VIII, full of vigor yet also a childish temperament and inconsistent mind. He demands More not oppose his marriage to Anne Boleyn, then decides he must have either More's outright assent or else his head. There's no bargaining with such a man. Perhaps More was better off standing on his principals as he did than climbing into bed with homicidal Henry. Just ask Anne.

Zinnemann presents some interesting visual images in "A Man For All Seasons," letting the period detail inform the story without overwhelming it. Several times, such as during the opening credits, inside More's cell at the Tower of London, and during More's trial, the camera shoots through narrow openings surrounded by high stone walls, a reminder not only of More's own trapped situation but the human condition. Aspirations of divinity may be unfashionable, even dangerous to one's health, but they present mankind with its one hope for overcoming its base nature, the dead-end character of temporality. "A Man For All Seasons" is a rallying cry for just such an approach to life, and remains undeniably effective in its artful, artless way.

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