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A Man for All Seasons (1966)

 -  Biography | Drama | History  -  1967 (Japan)
8.0
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The story of Thomas More, who stood up to King Henry VIII when the King rejected the Roman Catholic Church to obtain a divorce and remarriage.

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(from the play by), (screenplay)
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Title: A Man for All Seasons (1966)

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Cast

Cast overview, first billed only:
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Colin Blakely ...
Cyril Luckham ...
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Chief Justice
Thomas Heathcote ...
Boatman
Yootha Joyce ...
Averil Machin
Anthony Nicholls ...
King's Representative
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Storyline

The story takes place in 16th century England. But men like Sir Thomas More, who love life yet have the moral fiber to lay down their lives for their principles, are found in every century. Concentrating on the last seven years of English chancellor's life, the struggle between More and his King, Henry VIII, hinges on Henry's determination to break with Rome so he can divorce his current wife and wed again, and good Catholic More's inability to go along with such heresy. More resigns as chancellor, hoping to be able to live out his life as a private citizen. But Henry will settle for nothing less than that the much respected More give public approval to his headstrong course. Written by alfiehitchie

Plot Summary | Plot Synopsis

Taglines:

...a motion picture for all times!


Certificate:

Approved | See all certifications »

Parents Guide:

 »
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Details

Country:

Language:

| | |

Release Date:

1967 (Japan)  »

Also Known As:

El hombre de dos reinos  »

Box Office

Budget:

$2,000,000 (estimated)
 »

Company Credits

Production Co:

 »
Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

(Westrex Recording System)

Color:

(Technicolor)

Aspect Ratio:

1.66 : 1
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Did You Know?

Trivia

Richard Harris was considered for the part of the king. See more »

Goofs

During the trial of More, after the guards at the back of the room turn around to face the roused crowd (1:57:22), they are facing forward again when the Chief Justice speaks, and facing the rear immediately after, with no time in which to turn. See more »

Quotes

[first lines]
[first spoken lines are over 6 minutes into the film]
Man: ...there's the country every second bastard born is fathered by a priest.
Matthew: [clears throat to get More's attention]
Man: Why, in Utopia, that couldn't be.
Man: But why?
Man: Well, there the priests are very holy.
Man: Therefore, very few.
Sir Thomas More: Is it anything interesting, Matthew?
Matthew: Bless you, sir, I don't know.
[...]
See more »

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User Reviews

 
"This silence of his is bellowing...."
15 December 2005 | by (Flagstaff, AZ) – See all my reviews

One of the greatest cinematic studies of the nature of personal integrity, I sometimes think that this film is in danger of being forgotten -- and it shouldn't be. One wonders at the degree of corruption in More's time that he should have been so highly regarded for his honesty -- and how he might have been regarded today.

What Robert Bolt and Fred Zinnemann had wrought is absolutely brought to glorious life by the incomparable characterization of Sir Thomas More by the chronically underrated Paul Scofield. Bringing superb support to the role are Nigel Davenport as More's close friend Norfolk, who is caught between the rock of his respect and concern for More and the hard place of his duty to (and fear of) Henry VIII; Leo McKern as the jovially sinister Thomas Cromwell, whose verbal jousts with More are virtual poetry from Bolt's pen; John Hurt as More's fair-weather friend Richard Rich; Dame Wendy Hiller as More's devoted but frustrated and misunderstanding wife; and the elegant Susannah York as his equally devoted and strong-minded daughter. Two stand-out performances in relatively small but vital roles: Orson Welles, magnetic as the shrewdly pragmatic Cardinal Wolsey; and Robert Shaw, whose energetic portrayal of a young Henry VIII (before his corpulent days!) dominates the screen the two times he's on it.

As with "The Lion in Winter," the remarkable scriptwriting is the driving force behind the story, but Scofield's dignified, restrained, but at the same time quietly forceful delivery are what give the writing its power. The great quotes of the film ("Why Richard, it profits a man nothing to give his soul for the entire world...but for Wales?" "When you are sent to heaven for doing your conscience, and I am sent to hell for not doing mine, will you come with me, for fellowship?" etc.) are conveyed with either enormous gravity or poignancy by nothing more than the tone of Scofield's voice.

I think that the dilemma at the heart of the tale and how men of power came to grips with it is artfully summed up in the dying words of Wolsey and, of course, More. Wolsey regrets he did not serve God as well as he served his king. More, on the other hand, dies as "His majesty's good servant...but God's first." Whether criticized or praised as a morality play, it's wonderful to at least HAVE an uncompromising morality play to watch from time to time -- especially one so well crafted.


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