My Favorite Films: A Man for All Seasons (Lent Reviews Week 2)

"More is a man of an angel's wit and singular learning. I know not his fellow. For where is the man of that gentleness, lowliness and affability? And, as time requireth, a man of marvelous mirth and pastimes, and sometime of as sad gravity. A man for all seasons."
- Robert Whittington on Thomas More

     I first saw A Man for All Seasons when I was a young man and it left an immediate impression on me. I was inspired by Thomas More's steadfast moral conviction. Over the years I've begun to appreciate how complex this film is and to appreciate it more and more.

     This film has, quite possibly, my favorite screenplay ever. It was written by Robert Bolt, who adapted it from his own successful play of the same name. It's thematically rich, so much so that I notice new themes and complexities every time I watch it. In my most recent viewing I noticed how it comments on the corruption in the church and in English politics at the time. For instance it is emphasized how rare a lawyer Thomas More was for not accepting bribes. Thomas' son in law William Roper often complains of church corruption and More doesn't really object to these complaints, only that Roper is, initially, a heretic, following the teachings of Martin Luther. But these ideas are only scratching the surface. The film deals, mainly with the significance of words in laws and oaths, and with themes of personal conscious and integrity in the face of institutional corruption.

     There is much discussion in the film about words and the letter of the law. When Roper suggest that More should try to have Richard Rich imprisoned for duplicity, More counters that Rich has done nothing illegal. He must respect the law even when it protects the wicked along with the innocent, because society is built upon laws. If you ignore them or tear them down society will crumble.

     Thomas More himself is portrayed as a very morally complex character, one who will avoid confronting corruption if he can but will never betray his conscious or his principles. When Parliament proclaims King Henry as supreme head of the Church in England, Thomas resigns his post as Lord Chancellor in order to avoid controversy. And when the Act of Succession is passed, which requires all Englishman to take an oath recognizing Henry and Anne as the legitimate heirs to the throne, and repudiating the pope's authority in this manner,  he at first holds out a hope that he may be able to take it if the wording is sufficiently vague. He tells his daughter, "If he suffers us to come to such a case that there is no escaping...then we can clamour like champions, if we have the spittle for it. But it's God's part to bring ourselves to such a pass. Our natural business lies in escaping."

     Ultimately though, More cannot escape and when his daughter tries to convince him to take the oath saying that God values the thoughts of the heart more than the words of the mouth he replies, "When a man takes an oath, he's holding his own self in his own hands, like water. And if he opens his fingers then, he needn't hope to find himself again."  An oath is made up of words but it amounts to something much more grave.

     Besides the awesome screenplay there are many other things I love about this film. Director Fred Zinnemann was known for his meticulous attention to detail and historical accuracy which is very apparent in all aspects of this film. Ted Moore's elegant cinematography really helps to put the viewer in the 16th century England, at times evoking contemporary art, George Delerue's score also goes a long way in invoking the period, drawing largely form the antiphonal music of the time, and the costume and set design are equally magnificent.

     I would be amiss not to mention the performances. All the supporting players do an excellent job from Robert Shaw's almost bipolar performance as Henry VIII to John Hurt's pitiful, sleazy portrayal of Richard Rich. Wendy Hiller, Susanah York, and Nigel Davenport are really sell the unique personalities of Thomas' wife Alice, his daughter Margaret, and his son-in-law Roper respectively. But it's Paul Scofield's Thomas More (a role he also played on stage) who effortlessly carries the film on his shoulders, giving a really subtle and complex performance of a very well written and fleshed out character. Fred Zinnemann insisted on casting him despite the producers reluctance and it's hard for me to imagine anyone else in the role. Showing uncanny wit and great strength of character with an undercurrent of vulnerability, Scofileds's More truly is a man for all seasons.

     Combining a great screenplay with awesome production design and really solid performances A Man for All Seasons is easily one of my favorite films of all time.