Great movie! If you want to be entertained and have a few good laughs, see this movie. The music is also very good,

When a movie has you begging for it to end not even half way through it's pure crap. We've all seen this movie and this characters millions of times, nothing new in it. Don't waste your time.

This is a must-see and one of the best documentaries - and films - of this year.

Worth seeing just to witness how winsome it is.

Becket (1964) 7/10 Was pleasantly surprised by this lesser known biographical fiction. Synopsis made it seem extremely boring. Procrastinated on seeing it, regret that now. At 2.5 hours, it is noteworthy that I felt like it ended too soon. Obvious that Peter O'Toole started in theater, he overacts, his voice level is a tad higher than all the other characters, and it seems like he is yelling all the time. Not sure I liked that; this is not to say his performance was necessarily inferior, but that it was better suited for the stage. Director did take liberties with historical facts, the most prominent one being that Becket was not even a Saxon, but a Norman. This was actually quite a significant detail in the film, referenced more than once. The writer of the play that this film is based on did figure that out, but decided to leave it in because it made for a better story. Well, of course it does, but it also makes for a more historically inaccurate one. This is regrettable, for I feel as if it could have been as good with the facts accurate. Two phenomenal actors. Two phenomenal characters. They do not try to outshine each other, but Richard Burton easily wins this one. A man at first uncertain and then a little ambiguous with his loyalties, with a tendency to convince everyone, himself included, that he does not care about anyone or anything. His acting was such that I could see him as an ideal King. The supporting performances were all on point, although I do wish there was some more character exploration and explanation on various relationships that were merely touched upon, such as Henry & his mother Matilda, Henry & his wife Eleanor, Henry & his son Henry III, Becket & Lady Gwendolen, whom he obviously has feelings for. The relationship between King Henry II & Becket is mostly seen as platonic, but Henry does use the word "love" a few times. Because of censors at the time of the filming (homosexuality was still illegal), little more was shown. This is a disappointment. "Yes, I loved him. And I still do... I am as useless as a woman. So long as he is alive I tremble, I shake. I am the king, yet I shake. Will no one rid me of this meddlesome priest?... My heart!" #FilmReview

"Becket", Peter Glenville's film interpretation of Jean Anoulih's stage play released spring 1964 lives from his star-vehicle main characters portrayed by Richard Burton and Peter O'Toole, given Henry II of England a face for an anamorphic cinema-scope canvas.Henry II. arrives on Canterbury church sight, the year approximately 1066. The ambiance shows power of the clergy, here monks in brown robes, towards the English Throne. A flashback rolls out, revealing Becket & The King as brothers in crime. They are on rampage tour through the English landscape drunk and excited. The king seduces a peasant girl and steals her virginity. Despite Henry II, Becket loves living and respects life itself. The film unfolds the idea of life through two contradicting actors performing their version of each one's character.Burton and O'Toole are the real treasures of the picture with a oil-paint canvas like cinematography, minimal invasive camera movement and the occasional low-angle work. The ring with the great seal of England is given to Becket by the King, who snappy completes "Don't lose it or we need all move back to the Normandy." Peter O'Toole performs Henry II. as a playboy with will and focus. His character battles the members of the church for money in demanding risen taxes to fight the French. The king gives away a peasent girl in his own right as in-official slave trader to Becket, followed by a major feasting in the castle's main hall with a food & drink overload concluding in maximum vast before Henry II realizes Becket as a deacon at his side.At running time mark 52mins 00sec (PAL version) the King makes Becket the Arch-Bishop of England, leading to a power ascension within his kingdom, pointing out to Becket: "The Dye is cast. Make the most of it", not realizing that he cast off a life-threatening battle between King & Arch-Bishop, which becomes the main theme of "Becket". Richard Burton's character goes through a transformation from the King's friend / servant to head of the clergy. Nevertheless he must confess to been weak and self-indulging by seeking only his own benefit and personal pleasure. When at running time mark 01h 09mins 00sec, Richard Burton performs the prayer for his earthly sins, Peter Glenville's adaptation of "Becket" arrives in full bloom of non-stop conflicting between two powerhouse performers.Peter O'Toole's interpretation of Henry II shows constant temper, charging his power from food & drink infusion. The women pampered and stuck in the castle's chambers are the only ones who dare to distort and controvert the king. Right before the Intermission break at 1h 19min. 00sec., an ominous Lord Gilbert gets ex-communicated by Arch-Bishop Becket, which initiates the twist from friendship to battling each other to the death. Henry II schemes to accuse Becket of treacherous embezzlement regarding the King's savings. In return Becket accuses Henry II to be a Libertine. Becket in fully-charged of pride curses Henry II to become ex-communicated and an outcast.A revenge theme sets in over the battle of institutions. In return Henry II summons Becket to the court of law, declaring Becket an enemy to the crone. Director Peter Glenville handles the pinball game between the main characters with utmost precision with lacking continuously digging deeper into the King's psyche with character punch lines as "I don't like my children" as the King states to his wife. Nevertheless Henry II thanks his mother for given birth to him and correcting his wife of being absent at his physical side in which he learns to rule alone. Richard Burton's character counter-strikes with "I will be judged by the pope alone", in which he declares Total War to the English crone.Under the tightening noose, Becket has no choice accepting the pope's suggestion to do Monastry work, taking the easy way out in a life as monk in almost luxury manner before he is allowed to return to England under amour by the French King Louis VII, ingeniously performed by John Gielgud as a lively gay character. Goeffrey Unsworth plain, stage-like cinematography stays uneventful. All the film's power lies in the hands of the actors Richard Burton & Peter O'Toole, whose on screen chemistry comes to catharsis in an EXT. scene on a beach at Dover's.The quintessence of the King's character evolution takes shape that people kill what they love most, out of fear of losing it or to be touched by it physically as well as spiritually. So Henry II sends his knights to murder drunken Becket on holy grounds at Canterbury. The arch-bishop summons his dying day as Black World, getting dressed with red under-gown covered in white and gold. The servant, who presents Becket with a silver cross before taking the knight's with stab, trying to protect the arch-bishop. Becket on his knees, giving no resistance towards the King's knights. He gets slashed into pieces.Flashing forward to opening sequence, Henry II receives whiplashes by monks to eternity in front of Becket's grave, seeking redemption of a murdering his only friend. Again the cinematography in lighting and camera movement presents itself insufficient to prevail a test of time. The film concludes with Becket declared saint, revealing the the rotten desolated state of the world, but at least it pacifies the mob. The King leaves Canterbury as he came. The end.© 2017 Felix Alexander Dausend

something magic defines Becket. the source is not the acting, the music, the costumes, atmosphere. but the silence. it does force to the fight for honor, to loyalty, to the friendship and to the final word of king. it is the heart of tension and the drawing of lead characters. Richard Burton does one of his memorable roles. but his role is like a coat for two. his Thomas Becket is great, convincing, touching, profound, vulnerable and profound human for the science of Peter O ' Toole to discover his Henri II as the runner to his precise destiny. it seems be the film of two great actors and that is its high virtue. but its status of memorable movie has deeper roots. because it becomes more than a remarkable play adaptation and sustain a generous message in brilliant manner. story of power and faith, it is good support of reflection about politics and its necessary limits.

'Becket' examines the rather intricate relationship between the headstrong 11th-century King Henry II of England (O'Toole) and his lifelong friend, Thomas Becket (Burton). On the surface, the two appear to be really close chums who spend their time wenching and drinking - king and servant, but friends foremost. However, there are layers below this, as Henry clearly revels in his lust for living and more than a little affection for his servant Becket. Unable to consummate his love for his fellow man, he drowns his desires in women. Becket is much more of an enigma, and his motivations are somewhat elusive. He clearly relishes the company of his king, but is not entirely comfortable with his attentions. He is a Saxon, one of the conquered, requiring him to straddle the gulf between honor and collaboration, serving his Norman King in several capacities – as a valet, a bodyguard and a military adviser. He wears his compromises poorly, and longs for a simpler, honorable way of living.When the Archbishop of Canterbury dies, with view to subjugate the mighty Church, Henry picks Becket to be the successor, despite not even being an ordained priest, which proves to be his undoing. As soon as the miter is upon his head and the silver cross in his hand, Becket becomes a thorn in the king's side, opposing him on a point of principle, straining their friendship and putting Becket's life in peril. Henry loves Becket, as he adores no other human being in his life, and it hurts him to the core that Becket chooses honor over their friendship. 'Becket' soon moves from power play to power struggle, a struggle that Henry is not ready to lose.On the surface, Becket appears to be a humdrum king versus a dignified politician war. But, here, the primary conflict is between the throne of England in its debauchery, and the Church, with its compromised morality. The characters, even while wearing robes of power, stink to highest heaven in every sense. While protected by their power, they freely admit the moral sewer they occupy, and serve their gluttonous appetites with aplomb. Absolute power allows the veneer of quality to drip away, and we can be most thankful for this lack of varnish. Just as the characters' loyalties to one another are called into question, so, too are ours: 'Becket' enters a moral gray area from which it never fully emerges.Becket crackles with whip-smart dialogue and is anchored by a sharp screenplay that finds resonance even today. Peter Glenville directs with a flamboyant hand, but mostly he lets his two leads have free rein, and the results are glorious. Richard Burton is always at his best when reserved, and this is no exception. Peter O'Toole rips into the script as if he invented the art of acting, and belts out some of the best lines. He has a slithery charm that suddenly erupts into volcanic expulsions of blind fury. His chemistry with Burton is ripe with homo-erotic undercurrents, which O'Toole mines with relish in a hysterical performance, full of cunning, eloquence and mad outbursts.Years later, Becket remains just as incandescent and relevant!