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Becket (1964)

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4:48 | Trailer
King Henry II of England comes to terms with his affection for his close friend and confidant Thomas Becket, who finds his true honor by observing God's divine will rather than the King's.

Director:

Peter Glenville

Writers:

Jean Anouilh (play), Lucienne Hill (play) | 1 more credit »
Won 1 Oscar. Another 13 wins & 23 nominations. See more awards »

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Cast

Cast overview, first billed only:
Richard Burton ... Becket / Thomas Becket
Peter O'Toole ... His King / King Henry II
John Gielgud ... King Louis of France / King Louis VII of France
Gino Cervi ... the Cardinal / Cardinal Zambelli
Paolo Stoppa Paolo Stoppa ... the Pope / Pope Alexander III
Donald Wolfit ... Bishop Folliot
David Weston ... Brother John
Martita Hunt ... Empress Matilda
Pamela Brown ... Queen Eleanor [of Aquitaine]
Percy Herbert ... Baron
Siân Phillips ... Gwendolen (as Sian Phillips)
Inigo Jackson Inigo Jackson ... Robert de Beaumont
Felix Aylmer ... Archbishop of Canterbury
Niall MacGinnis ... Baron
Christopher Rhodes Christopher Rhodes ... Baron
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Storyline

Debauched King Henry II installs his longtime court facilitator Thomas Becket as the Archbishop of Canterbury, assuming that his old friend will be a compliant and loyal lackey in the King's ongoing battles with the church. But Becket unexpectedly finds his true calling on the ecclesiastical side, and aligns himself against the king's selfish wishes, causing a rift and an eventual showdown not only between the two men, but also the institutions they represent. Written by Jwelch5742

Plot Summary | Add Synopsis

Taglines:

A taste for wine and women made them friends. A sudden clash made them man and martyr...which led to murder! See more »


Motion Picture Rating (MPAA)

Rated PG-13 for some sexual content and violence | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

UK | USA

Language:

English | Latin | Welsh

Release Date:

11 March 1964 (USA) See more »

Also Known As:

Бекет See more »

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Box Office

Budget:

$3,000,000 (estimated)

Opening Weekend USA:

$7,912, 28 January 2007

Gross USA:

$149,327

Cumulative Worldwide Gross:

$149,327
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

70 mm 6-Track (Westrex Recording System)| Mono (Westrex Recording System)

Color:

Color (Technicolor)

Aspect Ratio:

2.35 : 1
See full technical specs »
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Did You Know?

Trivia

This movie met with the approbation of Jean Anouilh who, up to that point, hadn't been very impressed with adaptations of his work. See more »

Goofs

The film seems to assume that Henry and Thomas speak English. The French girl Marie is clearly depicted as speaking a different language. In fact, the native language of both Becket and Henry was French, and Henry spoke no English at all. See more »

Quotes

[first lines]
King Henry II: Well, Thomas Becket. Are you satisfied? Here I am, stripped, kneeling at your tomb, while those treacherous Saxon monks of yours are getting ready to thrash me. Me - with my delicate skin. I bet you'd never have done the same for me. But - I suppose I have to do this penance and make my peace with you. Hmm. What a strange end to our story. How cold it was when we last met - on the shores of France. Funny, it's nearly always been cold - except at the beginning, when we were friends....
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Connections

Referenced in Saturday Night Live: Drew Barrymore/Lily Allen (2007) See more »

Soundtracks

Dies Irae
(Medieval Latin Hymn)
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Frequently Asked Questions

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User Reviews

 
A meddlesome priest
31 January 2006 | by kurt_messickSee all my reviews

The tale of Thomas Becket has had many incarnations over time. T.S. Eliot's 'Murder in the Cathedral' is but the most recent acclaimed literary treatment; each revisitation seems to draw new elements forth from the story. Edward Anhalt won the Oscar for best screenplay (adapted from other material) for this film. This film shows Henry and Thomas Becket roughly equal in age (at variance from history, for in this time the age difference of 15 years is practically a generational difference). Becket is shown as being a guide to Henry, but less from a master/pupil standpoint as it is a clever diplomatic with a utilitarian and almost Machiavellian sense about him. Henry is presented as coarse and unrefined, uneducated and in need of assistance, but historically this is unlikely.

Becket is played admirably by Richard Burton; Henry II is portrayed by Peter O'Toole. Both were nominated for the best actor Oscar, but neither won. In addition to these nominations and the best screenplay award, the film was nominated for nine other Oscars, running the list from costumes, music, directing, best picture, and a best supporting actor nod for John Gielgud, whose cameo as the King of France is rather interestingly presented.

Indeed, the movie has a remarkable realistic feel to it, particularly for a film from the 1960s, when cinema was as likely to portray stylised and idealistic images of the past. The sets are in bare stone with a minimum of ornamentation, as would have been the case in Plantagenet times; likewise, the ceremony around the royal person is much less grand, and the church rather grand, which is both accurate and serves to highlight the underlying conflict of the story in the film.

Becket is portrayed as a man of ambiguous loyalties -- a man of principle who has yet to find principles worthy of loyalty. Finally, in the role of archbishop, he finds a calling from the honour of God (and in so doing is not unlikely many priests who see their path to ordination as the means of spiritual grace; indeed, many are disappointed that the faith does not come with the office). Whether Thomas Becket actually experienced a spiritual conversion that made him a strong champion of the church, or in fact saw the power of the church as a means to an end of dominating the country, we will perhaps never know.

In the film, Becket is often disparaged as being a Saxon; this is perhaps overstated, given his Norman lineage, which is never hinted at in the film. While he does not come from Norman nobility, he is far from being a simple Saxon. Burton's portrayal of Becket shows the change from worldly chancellor to spiritual archbishop in unsubtle terms. Even so, there is an ambiguity that plays out marvelously in both his performance, and the reactions of the other characters who constantly question his sincerity.

O'Toole's performance is not as polished as Burton's; when he plays an older, wiser Henry II in 'The Lion in Winter' four years later, the acting is much more dramatic and effective. It perhaps goes without saying that Pamela Brown does not make the same impression on the screen as Eleanor of Aquitaine as Katherine Hepburn does in the later film, but Eleanor is an incidental character in Becket in any case.

Music in this film is not a prominent feature -- various trumpet and brass flourishes announce events or major scene changes in parts; a lot of chant (long before Gregorian chant achieved popular status) accompanies church scenes -- indeed, I credit this film for giving me my first real taste of Gregorian chant. The scene with Sian Phillips as Becket's love Gwendolyen is accompanied by period string instruments -- again, Phillips is a remarkable actress who is under-utilised in this performance.

Done in a flash-back manner, there is a resolution in the film -- Becket is dead, made a saint, honour is satisfied as the King does penance, and the people are happy. We know what is going to happen, but then, anyone with knowledge of history would likely know the story already. In fact, Henry's reign was rarely without challenge, but he was always powerful, and much more effective after Becket's death than before. Reigning for nearly twenty years after Becket's death, he left a very powerful Western European coalition of lands that soon fell apart, and embroiled England and France in war for centuries later. The tensions between church and state carry forward to this day; while the specifics of the challenges faces Becket and Henry II are very different from issues today, the principle of the relationship between church and state is far from definitively resolved.

Also, the side-line issue of class warfare and racial prejudice (teased out with subtle nuance between the Normans and Saxons, who, ironically, look exactly the same on the screen) are addressed in an interesting, pre-civil rights sort of manner. This issue is never resolved in the film, as indeed it wasn't in the 1960s, either.

This is an intriguing film, with great acting and great production values, and an interesting story that, even if not completely historically accurate, does not alter the history so much that it becomes a parody of the subject.


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