#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – 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.
Plot: King Henry II of England has trouble with the Church. When the Archbishop of Canterbury dies, he has a brilliant idea. Rather than appoint another pious cleric loyal to Rome and the Church, he will appoint his old drinking and wenching buddy, Thomas Becket, technically a deacon of the church, to the post. Unfortunately, Becket takes the job seriously and provides abler opposition to Henry.
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A bizarre love triangle – Henry II, Becket and God
Richard Burton is “Becket” in this 1964 film starring Peter O’Toole as Henry II and John Gielgud in a small role as the King of France. King Henry creates a Frankenstein monster when he makes his best friend, Becket, the Archbishop of Canterbury, believing this will solve all of his problems with the Church. It’s a decision he lives to regret. Becket finds that he loves serving God and is in his rightful place, living a life of prayer, retreat, and helping the poor and the needy. When he comes up against the King, his response is not what Henry expects. Becket now serves another master – God.
This is such a beautiful film, not only the sweeping landscapes and muted colors but the stunning, sometimes stark images throughout of the two men, the scene on the beach toward the end in particular.
“Becket” is a clash of two titan actors and historical figures. O’Toole and Burton, so different in their acting approaches, are a match made in heaven, with O’Toole playing Henry as a childish, selfish rogue in a very overt performance and Burton playing Becket with an internalized quiet strength and resolve. They are both magnificent. Both deserved the Oscars for which they were nominated; they didn’t receive them. O’Toole would go on to play Henry II again in Lion in Winter, giving him an interesting place in cinematic history – he’s the only actor to play the same character in two completely different films, neither one of which was a sequel or prequel (before you invoke the name of Al Pacino).
Much is made in these films of historical inaccuracies. What makes these period movies so wonderful is whether or not you watch them knowing much of the history, after you’ve seen them, you rush to the Internet to read more. I was most interested in the homoerotic aspects of the relationship between Becket and Henry – but none was mentioned in anything I read. It was, however, very apparent on the screen.
The ’60s was really a time of these great historical dramas, similar to that period later on when Merchant-Ivory produced their many sweeping films. In a time of Spiderman and Transformers, these wonderful character-driven films are sorely missed. This is a particularly fabulous one.
Entertaining but contrived story.
Wait a minute! Becket is a Saxon? Isn’t that stretching literary license a bit far? It is hard to believe that modern Britain can trace its roots in part to a tribe of Vikings who first forced their way into France and then conquered England, which indicated that if any group deserves dramatic treatment, it’s the Normans. They went all over Europe and Mideast, and they were force to be reckoned with. So to make Becket a Saxon seems such a come down, especially when it’s not true, and even a drama should not take such license. This movie would have worked well as a drama if Becket had been portrayed as a Norman, which would have made the bond between he and Henry more plausible. That the Norman king would have a Saxon as his closest confidante seems a bit too much to accept, and in fact, it did not happen.
Nevertheless, this is an entertaining and well-acted movie. Peter O’Toole and Richard Burton are excellent in the principal roles. However, although despite its trappings as a credible historical account of a political conflict with sexual overtones, the movie is pure fiction with a story line that is hokey and contrived. The conflict that is the central theme of the plot, loyalty versus integrity, is unconvincing. A nobleman murders a priest and Becket, the Archbishop of Canterbury, demands justice and when none is forthcoming, excommunicates the offender. What’s the problem? Becket was doing his job, but the king, who is also Becket’s patron and best friend and expects Becket to act the role of a stooge, since it is the king who had Becket installed as Archbishop, objects. Of course, there was probably a lot more going on between Becket and Henry, which the movie omits. The audience is asked to accept the premise that the king is so insecure that he cannot tolerate even the slightest action that can be construed, or misconstrued, as a challenge to his power. Now, if the Becket had tried to raise an army and start a civil war, then the king wanting to protect himself and his office would be understandable, but no such challenge happens, nor ever did happen. Becket confines his actions to that of an ecclesiastic nature which was well within the scope of his authority. That the king, who is a profligate, refuses to go along with Becket is unsurprising, and that politics ruins what was otherwise a wonderful friendship is regrettable, but what else is new? If Becket was as obnoxious as Henry, then the movie may have produced some fireworks. Instead, the movie presents Becket as being so passive that he cannot possibly pose a threat to anyone, and as proof of his abject vulnerability even flees England for his life. Such an action does not suggest a man who is a threat nor does it make for high drama, or any level of drama. The movie insinuates that perhaps Henry and Becket had a homosexual relationship, but even this is treated in a half-baked manner which further dampens the movie’s dramatic impact. Probably the strongest scene is the one in which Henry’s wife, Eleanor, who is portrayed as a whining, self-indulgent shrill, gives Henry a public tongue lashing, which he deserved, being obsessed with a man who, to the rest of the court, is a nobody. Richard Burton gives a strong and dignified portrayal of Becket, in stark contrast to Peter O’Toole’s hysterical and over-the-top performance which makes the king come off as a buffoon. His fixation on Becket seems hollow and without substance, more so since Becket himself is an emotional neuter who is most comfortable when he is alone, and with the likes of Henry and the king’s pouting wife around, who could blame him?
Original Language en
Runtime 2 hr 28 min (148 min), 2 hr 30 min (150 min) (Argentina)
Genre Biography, Drama, History
Director Peter Glenville
Writer Jean Anouilh (play), Lucienne Hill (play), Edward Anhalt (screenplay)
Actors Richard Burton, Peter O’Toole, John Gielgud, Gino Cervi
Country UK, USA
Awards Won 1 Oscar. Another 13 wins & 23 nominations.
Production Company Paramount Pictures
Sound Mix 70 mm 6-Track (Westrex Recording System), Mono (Westrex Recording System)
Aspect Ratio 2.20 : 1 (70 mm prints), 2.35 : 1
Laboratory Technicolor, London, UK
Film Length N/A
Negative Format 35 mm (Eastman 50T 5251)
Cinematographic Process Panavision (anamorphic)
Printed Film Format 35 mm, 70 mm (blow-up)