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| Sir Thomas More (Paul Scofield) is named Lord Chancellor - a promotion that will put him into conflict with his king! |
Release Date: Dec. 12, 1966. Running Time: 120 minutes. Screenplay: Robert Bolt. Based on the stage play by: Robert Bolt. Producer: Fred Zinnemann. Director: Fred Zinnemann.
THE PLOT:
King Henry VIII (Robert Shaw) has a problem. He has failed to produce an heir with his wife, Catherine of Aragon. Henry is petitioning the Catholic Church to annul his marriage so that he may instead wed his mistress, young and fertile Anne Boleyn (Vanessa Redgrave).
Sir Thomas More (Paul Scofield), Henry's Lord Chancellor, is a great legal mind who is absolutely loyal to his king. He is also a deeply and sincerely religious man, however, and he cannot offer his support for the requested annulment. Henry reluctantly agrees that so long as More does not oppose him, he will leave him out of it. It's a promise he won't be able to keep.
When the Church refuses Henry's request, the king declares independence from Rome. Fearing for their own heads, the various cardinals and bishops swear an oath that renounces Rome and instead recognizes the king as Supreme Head of the Church.
More cannot do the same. He hopes to navigate his dilemma by relying on silence: "Silence is my safety, under the law... The maxim of the law is, 'Silence gives consent.'" But Chief Minister Thomas Cromwell (Leo McKern) sees his silence as a condemnation, "bellowing up and down Europe!"
With the king paranoid about possible treachery, his officials become resolved: Thomas More must be made to swear the oath - or, failing that, be made into an example!
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| More with his plainspoken wife, Alice (Wendy Hiller). |
PAUL SCOFIELD AS SIR THOMAS MORE:
Paul Scofield's More is no willing martyr. He's a man of great wit, and there's a certain self-satisfaction that we glimpse when he turns a phrase just right. A lawyer as much by temperament as by training, words are important to him. He chooses his own with care and, when told of Henry's oath, immediately wants to know what the exact words are. If there's any vagueness, then he may be able to take the oath in good conscience: "An oath is made of words... If I can take this oath, I will!"
When he finds no such escape, he still clings to the law as his protection, trusting in its precedents to protect his silence. He breaks that silence only when the last crumb of hope has gone. Then Scofield gets a chance to briefly but memorably unleash all the anger and frustration that has been building in More.
It's a great performance that not only anchors the story, but that also makes human someone who, in other hands, might have seemed too perfect and thus too remote.
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| Robert Shaw as King Henry VIII: unpredictable and dangerous. |
OTHER CHARACTERS:
Alice More: Wendy Hiller, as More's plainspoken wife, is less showy but just as critical to the movie's success. Uneducated and illiterate, she nevertheless understands what More does not. "You think they'll leave you here to think?" she scoffs, knowing full well what he does not: that the powerful will have what they want. Hiller is superb, particularly in her final scene, when she clings to her husband and shouts out her defiance of the king and his council.
Thomas Cromwell: The ever-reliable Leo McKern plays the most visible villain, the Chief Minister tasked with obtaining More's consent to the king's annulment and new marriage. Cromwell is introduced as a rival to More: another lawyer, well-versed in the law and cunning. But unlike More, he has no scruples. He attempts to twist past events. When that fails, he doesn't hesitate to suborn perjury. He uses his position to bully, first intimidating Robert Rich into telling him one of More's secrets and finally intimidating the jury into rendering a verdict without any pause for deliberations.
King Henry VIII: Though he only has two scenes of substance, Robert Shaw makes such an indelible impression that his Henry looms over the rest of the story. His introduction emphasizes him as unpredictable and dangerous. Making an impromptu visit to the More estate, he hops off his boat into mud - whereupon all of his retainers freeze in terror, relaxing only when he finally laughs. He is friendly toward More; but when More doesn't voice support for the annulment, he switches on a dime to paranoid ranting about "treachery" with a rage as unrestrained as it is unhinged. He calms just as quickly, promising to leave More out of it; but we already understand that this promise is meaningless, and that the threats and anger were a truer reflection of the man.
Cardinal Wolsey: Orson Welles is superb as Wolsey, Henry's right hand, right up until he fails him. Welles uses his girth and his prematurely aged visage to show Wolsey as corruption personified. He isn't merely corrupt, though. He's a man of intellect, possibly the only character who seems to be More's intellectual equal. He fears for the country if Henry has no heir, speaking of the relatively recent dynastic wars with "blood-witted barons ramping the country from end to end." This isn't baseless fearmongering, as that very spectacle was still something in living memory, and this early conversation establishes the stakes for both sides. We later learn that More was recommended as the next Lord Chancellor by Wolsey himself, and we're left to wonder: Was this an act of repentance by Wolsey; or was it one of revenge, thrusting a political foe into a position that he knew was impossible?
Robert Rich: "Why Richard, it profits a man nothing to give his soul for the whole world. But for Wales?" If More is this story's martyr, then John Hurt's weaselly Robert Rich is its Judas. He's introduced as a hanger-on, clinging to More in hopes of securing a position. More offers him one: schoolteacher. But Rich wants the money, power, and influence attached to the court. When More tries to instruct him by gifting him with a goblet that was intended as a bribe, Rich focuses only on how much he can sell the cup for. Inevitably, he goes to Cromwell. He's initially unhappy about doing so, and Cromwell has to browbeat him into talking about the goblet. "You'll find it easier next time," the prosecutor promises - words that prove prophetic.
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| Cardinal Wolsey (Orson Welles) tries to convince More to compromise. |
A STORY OF OPPOSITION:
"When statesmen forsake their own private conscience for the sake of their public duties, they lead their country by a short route to chaos."
-Thomas More explains the reason for his inflexibility.
A Man for All Seasons is structured around opposition. From the first, we see Thomas More in verbal conflict with more powerful figures. Interestingly, though his peril grows throughout, his opponents become steadily less formidable.
The first man he faces is Cardinal Wolsey. As Robert Bolt writes him and Orson Welles plays him, he's every bit More's intellectual equal. Their conversation does critical expositional work, laying out the basic conflict and the stakes for viewers not familiar with the full historical context.
More interesting is the sense of two opposites: More, the man of conscience, and Wolsey, the man of politics. Wolsey, the pragmatist, is frustrated by More's inability to "come down to Earth," sneering that the other man would like "to govern the country with prayers." More believes that sacrificing conscience for pragmatism inevitably will end badly. Neither man can sway the other, but both speak persuasively in a way that invites audience respect.
The next is King Henry VIII. Robert Shaw plays him as pure predator, switching between charm and rage - with the rage coming across as the more authentic. When More's answers displease Henry, the king leaves his estate without taking his meal, and there's a sense that More has already crossed a perilous line.
The main antagonists of the second half are Leo McKern's blustery Cromwell and John Hurt's twitchy Robert Rich. Cromwell is a man of law, like More, and a capable one; but he's introduced as a lackey to Wolsey, and he is portrayed as slime throughout. John Hurt's Robert Rich is constantly nervous, a small man intimidated by the larger men surrounding him. Early in the movie, More enjoys more power and influence than either of them. They are not inherently fearsome figures.
Unless you're powerless, that is - and by the end of the movie, More is. The brilliant paragon of integrity is undone not by titans like Wolsey and Henry. He's undone by the selfish actions of petty men who are looking out for themselves.
Or, as More puts it:
"If we lived in a state where virtue was profitable, common sense would make us saintly. But since we see that avarice, anger, pride, and stupidity commonly profit far beyond charity, modesty, justice, and thought, perhaps we must stand fast a little."
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| Alice's farewell to her husband - The only scene that managed to engage my emotions. |
A GOOD FILM, BUT NOT A GREAT ONE:
I can't particularly argue with A Man for All Seasons' Best Picture win. It is a very good movie. Its stage origins show, in that it's very much a film of people talking in rooms... but in the hands of writer Robert Bolt, adapting his own play, it's a succession of scenes of wonderful dialogue delivered by superb actors.
There are fantastic speeches here: More's "devil" speech, in which he states that he would extend benefit of law even to the devil himself, because otherwise the law would protect no one; Cromwell's speech to Robert Rich, in which he observes that administrators like them are unpopular but important because they minimize "inconvenience"; More's urging Rich to forget about the corrupt court and instead become a schoolteacher, an area where he believes the other man would excel. More is a character who values words, and the words of A Man for All Seasons are its greatest asset.
And yet... I'm not particularly moved. I'm entertained. I enjoy the wordplay and the performances, and I love the way the film tells its story. But the only time I actually feel is in the final scene between More and his wife. The rest of the time, I'm appreciating the craft but I'm not particularly caught up in the drama.
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| More tries to teach Robert Rich (John Hurt) by showing an attempted bribe. Rich learns the wrong lesson. |
REMAKES AND RETELLINGS:
Before it became a movie, A Man for All Seasons was adapted twice as a television play: once in 1957, with Bernard Hepton as Thomas More; and again in 1963, with Wyn Roberts.
In 1998, Charlton Heston, who had wanted the role in 1966, directed and starred in a cable television production. He surrounds himself with a fine supporting cast: Vanessa Redgrave, who had a cameo as Anne Boleyn in the 1966 film, plays More's wife in this version, while John Gielgud appears as Cardinal Wolsey. Roy Kinnear, in his last film role, plays "The Common Man," a sort of Greek chorus character from the play whose part was distributed to multiple bit parts in the 1966 film. It's more faithful to the original play than the 1966 film, but it also drags a bit, indicating that Bolt and Zinnemann were right to trim it in the first place. Also, while I usually enjoy Heston's acting, I don't think he's a good fit for More. He plays the speeches well - but while Scofield found the relatable human being underneath, Heston mainly just plays the Icon.
OVERALL:
A Man for All Seasons is a very good movie, and it's an entertaining one. It's well paced, and I was never bored across its two hours. Still, I can't make myself rate it as the equal of movies that have transported me into their worlds, involved me, or moved me.
This film provokes thought as it entertains, and I admire it for that. Even so, I find it doesn't engage my emotions as strongly it does my intellect. As a result, while I would definitely recommend watching this film, I can't make myself consider it a great one.
Rating: 7/10.
Best Picture - 1965: The Sound of Music
Best Picture - 1967: In the Heat of the Night (not yet reviewed)
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