A Man for All Seasons [1966] [VHS]

The whole tone of the film is excellent. From the opening scenes of couriers dashing from Wolsey to More, backdrops of pre-Renaissance England fill the screen, from the magnificent but appropriate un-ornate manor houses and parliamentary scenes (the set of Westminster Hall, a building in which I once worked) to the costuming and music, period in style and instrumentation. The director Fred Zimmermann resisted the urge to provide orchestral music as a background; indeed, through much of the film, there is no music at all, as the drama itself carries the weight of the narrative and atmosphere. The cinematographer, Ted Moore, as well as the director received Academy Awards for their work.

This is an actor's film, the force of the drama being driven by their performances. Exceptional acting by John Hurt, Leo McKern, Nigel Davenport and Robert Shaw enhance lead actor Paul Scofield's Oscar-winning portrayal. Scofield presents the intellectual More as a character of supreme integrity (following Bolt's play perfectly), an integrity hard to maintain in the shifting sands of Henry VIII's drive to break with Rome to secure a divorce. More, as chancellor of England after Wolsey (portrayed in a slightly-more-than-cameo appearance by an effective but declining Orson Welles), was charged with maintaining both peace with the King and his faithfulness to the church, of which he was an acknowledged intellectual leader throughout Europe. In the end, the church won out -- as More said at his execution, 'I remain the King's good subject, but God's first.'

Hurt and McKern portray Richard Rich and Thomas Cromwell, schemers and social climbers of which royal courts are always full. Nigel Davenport as the friend who becomes an enemy, himself turned by the political tides, is also effective, but the best role beyond Scofield's is that Robert Shaw, who portrays the 'lion of England', Henry VIII, capricious and volatile, far too taken with his own sense of purpose and without many courageous enough to stand against him.

The roles of More's wife Alice (Wendy Hiller) and daughter Meg (Susannah York) are admirably played. Alice as the illiterate yet intelligent wife of More is concerned for the family's well-being; Meg as the educated daughter (More's experimental school practiced, generations ahead of its time, gender equality in education) almost steals the scene from Shaw at one point. Hiller's performance as More's companion up to the scene in the Tower is strongly portrayed, and she does not lose her character in the face of so many other powerful figures.

Rare in film-making today, the full force of the plot develops upon the device of Qui tacet consentit - silence implies consent. More relied on the legal idea that, so long as he did not speak out against the king, his silence implied consent and he was safe. However, as Cromwell (correctly) argued, More's silence was not meaningless, nor was it taken as consent by any who knew him. On this one point, More's integrity falters, for he was intelligent enough to know that the truth was different from the legal fiction; however, this was also the position he maintained regarding Henry's marriage to Anne Boleyn.

This is not a feel-good movie; indeed, the final narration makes one wonder rather at the idea of justice in the world. Yet it is a meaningful and stunning film, and one deserving of viewing by all.

Zinnemann's adaptaion of the Robert Boltman play was done on a low budget, and whilst it takes artistic license slightly further, the film remains a historical masterpiece. Paul Schofield as More is magnificent, combining a stoical adherence to truth on the one hand, with a dry wit on the other, and this is an accuracy of depiction that could not have been drawn from the words of the script. Robert Shaw as Henry is also fantastic, showing the viewer both the very personal side of the monarch, when he is disappointed at More's non-attendence at the wedding to Anne Boleyn; and the aggression of a lion as he shouts (in full hearing of all party guests) - "I ask you, do they take me for a simpleton?" The swift change from an amiable friend to a dominating absolute monarch is brilliantly played by Shaw, and though it is a marked contrast to the plain More, the performances are equally great.

In October 2000, John Paul II made Thomas More the Patron of politicians (he was already the unofficial patron of Catholic lawyers in the UK). Both positions indicate what a great man he was. A scholar of great learning, a man of letters, a liberal in an autocratic age. His character was perhaps best displayed as his end, in his words to the executioner - "Pluck up thy spirits, man, and be not afraid to do thine office; my neck is very short; take heed therefore thou strike not awry, for saving of thine honesty." The combination of humor and greatness, even in the face of death, povide a role model for all.

If you enjoy the film, read the play and 'The Life of Sir Thomas More' by William Roper, his nephew. Although it bears relation to a specific incident, this popular poem of the time is a fitting epitaph for this great man -
When More some time had Chancellor been
No more suits did remain.
The like will never more be seen,
Till More be there again.