After reviewing Popcorn with the Pope: A Guide to the Vatican Film List,Aleteia has taken on the challenge of watching and reviewing each of the 45 movies recommended by the Vatican for their themes on “religion,” “values,” and “art.” As many of the movies are quite old, the task falls to Aleteia’s in-house Millennial, yours truly, to see how the films stand up in the 21st century.
This week, we’re taking a look at A Man for All Seasons, a 1966 film that tells the real story of the English martyr, St. Thomas More.
A Man for All Seasons begins as King Henry VIII is in the midst of his disagreement with the pope over his desire to divorce his wife, Catherine, after many failed attempts at producing a male heir. Thomas, a noble and childhood friend of the king, is swept up in the controversy after being named high chancellor, but his refusal to acknowledge the king’s divorce or remarriage – as well as his reluctance to leave his Catholic faith during the English Reformation – leads him to resign the post.
Thomas More and his family take the loss of status in stride, finding enjoyment in a more quaint and quiet life, but this is not to last as the king demands that all take the Oath of Succession. While More has no qualms about supporting the king as ruler of England, he cannot in conscience take the oath, which rejects the authority of the pope. Rather than outwardly opposing the Oath, however, More remains silent on the matter so as to not incriminate himself.
His refusal to make an oath is taken as a disagreement with the Crown and eventually leads to his arrest and imprisonment for treason. The film comes to its climax when More is brought to trial and condemned based on a lie from an old acquaintance, Richard Rich, who is an ever present opportunist throughout the film. The film ends, rather promptly, after More is executed.
A phenomenal script
While previous films in this series were altogether new to this Millennial’s eyes, A Man for All Seasons is one that I’ve seen before, albeit around 25 years ago. As a child, the film felt like it took forever to get through, with too much talking and not enough action. Two decades later, however, it is hard to express exactly what a joy this film was to watch.
Adapted from a stage production of the same name, A Man for All Seasons is an absolute master-class in dialogue that should be studied by any aspiring writer. While More is a gentleman through and through, his wit is as sharp as a sword and he uses it to spar with just about everyone he talks to.
An excellent example of this can be seen in More’s interactions with Rich. Early in the film a woman attempts to bribe More with a silver cup. When Rich solicits More for a job in court, More tests Rich by offering him the silver cup. Rich takes it, saying that he will sell it to buy a better gown, only for More to muse rhetorically on what Rich might do with even bigger bribes that are offered to those with status in King’s court. His subtle jab at Rich’s loose morals comes in explanation of why More refuses to elevate Rich.
This line of thought is revisited later on, when More has lost his status and Rich has gained position. When they meet, More looks Rich over and comments, “What a nice gown.” In just four words, More cuts down the ambitious Rich. His quip suggests that all his newfound power and wealth is ill begotten and not as worthy of respect.
Relevant today
Popcorn with the Pope author Michael Ward laments that the film glosses over More’s reasons for holding fast to his Catholic faith, instead becoming “a story about an individual’s assertion of belief in the face of governmental pressure, and the spiritual component is downplayed.” While it is hard to disagree with this sentiment, More’s status as a Catholic saint could allow for the assumption of his faith for the sake of the film’s length, if nothing else.
It is also hard not to recognize the relevance this film still has to this day. More is presented as possibly the only honest man in England, and it is this devotion to the truth that made the king so ardently desire his support. An endorsement from such a man would legitimize the king’s departure from Rome not only in the eyes of the people, but of the king himself. As More demonstrates, even at the cost of his life, we are called to bear truthful witness and to follow a conscience grounded in and informed by the teachings of Jesus Christ.
Paul Scofield’s depiction of More as a deep thinker with a gentle intensity is gripping and easily connects with his audience. The delight on his face at the quick witticisms is heartwarming, while the dismay over being caught between his God and his king is heart-wrenching, to say nothing of the heartbreak when his family visited him in prison.
Orson Welles also does a great job as Cardinal Wolsey in the first act, but the real show stealer was King Henry VIII. Played by Robert Shaw, the king only appears in two scenes, but his performance is so bombastic that his presence is felt throughout the film. Shaw’s remarkable job is up there with Anthony Hopkins’ role as Hannibal Lecter, or Kevin Spacey as the villain in Se7en.
Nearly 60 years after its release, A Man for All Seasons is still a prize of the cinema. Notable for its exceptional script and fantastic acting performances, the film stands up against any modern offerings with distinction. With an added bonus of telling the story of a Catholic saint, it is an excellent choice to watch with the whole family. Due to its quiet, dialogue-driven nature, however, it may be better suited for children in their teens than the little ones.
And today we celebrate...