A few weeks ago I wrote about the recent TV version of Wolf Hall. This week we’re back in the 16th century with the 1966 film version of A Man for All Seasons, a much more flattering portrayal of Thomas More.
And of course it’s a classic, with every son of a gun in the world in it: Orson Welles is Wolsey, Paul Scofield is More, and, well, I mean, just look at that poster up above.
It’s good, of course — won Best Picture, full of great actors, lush visuals, all that kind of thing. Robert Shaw shouts like anything. Leo McKern is a fantastic counterpoint to Wolf Hall‘s version of Cromwell; a real devious son of a bitch but without the motivating principle.
So what sort of picture of More are we painting here? Basically one that portrays him as an example of principle, principle writ large. And that naturally means glossing over all the stuff More did that, while it might very well have been an expression of his principles, rather clashes with ours (More burned heretics, but everyone burned heretics). In essence it builds up to the moments of principled defiance that characterised More’s end and made him famous. There is a fantastic line where the Duke of Norfolk calls his behaviour “disproportionate” as if it’s the worst thing he can think of.
And that’s not a bad eye on an aspect of 16th-century society that has some parallels in a lot of societies — the idea that “go along, get along” is actually a principle rather than a shameful compromise. Not that it’s an original observation, necessarily, but it’s expressed well.
Anyway, it’s a story about moral conflict where Wolf Hall is essentially a political story that presents the moral compromises that result from the political strategies used to serve moral agendas. It’s an interesting contrast between interpretations of a time that has become synonymous with moral conflict.
I’m impressed by the fact that claims to be “a motion picture entertainment for all times,” which is … I’m not sure about that. It’s a little bit of a historical pageant, and visually it doesn’t have much to distinguish itself other than lots of velvet. But this is the kind of thing they put on movie posters back i8n the day.
So I liked it, but you don’t need me to tell you that a movie that won Best Picture is good.