Review of Becket (1964) by Matthew B — 06 Aug 2007

Becket is most remarkable for the complexity of the central performances given by Peter O'Toole and Richard Burton. O'Toole's Henry II is at times vulgar and animalistic; at other times, he is charming, suave, and even gorgeous (Lawrence twinkling through).

Richard Burton's Thomas a Becket is, comparatively, less successful. Burton fails to capture the essence of Becket's conversion from dandy to puritan - from a gallivanting politician to a sage churchman.

Some of his scenes are breathtaking (the excommunication scene is almost Wagnerian); others are woefully contrived (his confrontation with Henry on the beach is a bit dated). Sir John Gielgud provides a small but highly memorable performance as the slightly foppish king of France; Donald Wolfit is appropriately serpentine as Cardinal Folliot; Martita Hunt is a veritable gorgon as Henry's crusty mother, Empress Matilda; Pamela Brown steals her scenes as Eleanor of Aquitaine (her venom against Henry in the dining hall scene is spectacular); and Felix Aylmer, Sian Philhips, Paolo Stoppa, and Geno Cervi all provide noteworthy supporting performances.

Technically, however, Becket is a film which has not stood the test of time well; Laurence Rosenthal's score sounds like music for a television series, and Geoffrey Unsworth's cinematography is far from imaginative.

Nonetheless, the spectacular performances given by an esteemed group of veteran Shakespeareans hold the film together, and it is an accessible and entertaining predecessor to the 1968 masterwork The Lion in Winter.