Customer Reviews

A Man for All Seasons [VHS]

5 star:		(187)
4 star:		(30)
3 star:		(11)
2 star:		(5)
1 star:		(3)

 

 

One of the finest films of all time, directed by Fred ( High Noon, From Here to Eternity ) Zinnemann. Among the ensemble of players are Wendy Hiller, Orson Welles, Susanna York, Robert Shaw, Leo Mc Kern and--in one of his earliest roles--a young John Hurt. Truly a cast for all seasons!

It's an acting lesson, headed by the great Paul Scofield who not only captures the essence of Sir Thomas Moore, but who does so with superb economy of motion; he hardly makes a gesture thoughout the entire film--- Duse would have loved it.

How does he do it? Well, as I said, it's an acting lesson. Suffice it to say he rightly deserved winning the Oscar.

Robert Bolt's brilliant play is a study of contrasts with a mystery at the heart of the theme: Was Moore a Saint who is now in Heaven with The Blessed, or was he a fool who could have died in his bed at a ripe old age after a lifetime of domestic felicity and the highest honors his country could bestow upon him?

If there is no God, or if you believe that the conflict between The Anglican and Catholic Churches to be of no paramount importance, is your integrity still worth losing your head on the chopping block?

Hmm. . .

Magnificent in every respect.

I have loved this movie since I saw it in its original release too many years ago. Certainly, Sir Thomas More was a magnificent person who died a martyr and has been canonized a saint. However, don't confuse the play and movie with the flesh and blood man. He was much more complex in real life than the purely noble performance of Paul Scofield. You can read the biography of Thomas More by Peter Ackroyd to get at some of his complexities.

But this is a wonderful movie and I recommend it with great enthusiasm. It is a powerful movie and can have some useful at least temporary curative effect on the soul suffering under the ironical detachment and cynicism of our time. Scofield is wonderful and the definitive performance of this role. Orson Welles is quite special as the corpulent and corrupt Cardinal Wolsey. John Hurt is superb as the traitor Richard Rich. Shaw is fine as Henry VIII as is the rest of the cast.

And who can forget the line where More asks to see chain of office that Richard Rich was given to perjure himself and betray More. After examining it and being told that Sir Richard was made the Attorney General of Wales More says, "Richard, it profits a man nothing to trade his soul for the whole world, but for Wales ..." Wonderful stuff.

The disk offers the wide screen theatrical release and a full screen version for those who like to see less of the picture in order to avoid the upper and lower "bars". There is also the original trailer.

There are no other features on the disk beyond scene selection.

This disk belongs in every collection and should be reviewed regularly as an healthful tonic to help remedy the bilious nihilism of our age.

I ordered this DVD after reading James Monti's "The King's Good Servant but God's First" (an excellent biography of Thomas More) and becoming an utter fan of the scholar and saint (I've even got a framed copy of Holbein's famous portrait of More). Not knowing what to expect, I was floored, and still am, by the genius of this film (which very closely follows Robert Bolt's outstanding play, "A Man for All Seasons" -- also available on Amazon).

I've seen the DVD over 200 times and can probably follow it word for word.

Other than Paul Scoffield's absolutely BRILLIANT performance, the other performance which shines through is that of a young, handsome John Hurt playing Richard Rich. [You might recognize Hurt as the magical wands-shopkeeper in the Harry Potter film series.]

Some of the greatest lines/scenes in this incredibly intelligent, clever film:

Richard Rich: "I'm not depressed. I'm lamenting. I've lost my innocence!" (nervously joking)
Cromwell: (snaps) "Some time ago. You only just noticed?"

As an another reviewer pointed out, More's greatest line in the film: "Why Richard, it profits a man nothing to lose his soul for the whole world... but for Wales??"

The movie is even better than the play itself, as the film refines certain elements (i.e., omits Chapuys's character, streamlines the relationship with Rich). However, the film only made VERY minor changes to the play -- since the play is quite brilliant and in no need of change -- so fans of the play will be surprised and pleased at how little the lines were changed.

I can't recommend this movie enough. Other than "The Passion of the Christ", it's my favorite film.

One of the greatest English language films ever made about one of the greatest men who ever lived. St. Thomas More was a man of extraordinary conviction and through the years has proven to be a great inspiration to me, personally. When Sir Thomas is asked to endorse Henry VIII's petition for annulment from his marriage to Catherine of Aragon, he's fully aware of the consequences of his refusal. Nevertheless, he did what he knew and felt was right and he paid the ultimate price. A true martyr in every sense of the word and a film that makes the viewer question his own value system and sense of passion and integrity. Paul Scoffield's brilliant and profound characterization of Sir Thomas is still a wonder to behold. He imbues this larger than life person with such quiet dignity and grace that it belies the reality of his existence. This is not a man worried about dying. This is a man worried about living without the courage of his convictions, knowing that he supported something he truly abhorred and knew was wrong. Robert Shaw's performance as Henry VIII is equally wonderful, as are Susannah York, Dame Wendy Hiller and Orson Wells. I never tire of watching this film or reading the play; incidentally, also one of my favorites.

A superb historical drama revolving around Henry VIII and his break with the Catholic Church over a refused marriage annulment, and his establishment of the Church of England. The movie centers on the battle between Sir Thomas More (played brilliantly by Paul Scofield), Lord Chancellor to Henry, and Henry VIII himself, played by Robert Shaw. More is a quiet, steady pillar of strength as he defies Henry and his religious establishment plans. The king demands a loyalty pledge from More (More as Lord Chancellor is the second most powerful man in England), which More cannot give him without abandoning obedience to Rome and his faith. But More is a practical man, and a lawyer to boot, and defends himself in hair-splitting lawyery terms - to no avail. The back and forth exchanges between More and Henry are brilliant, however. In fact, there's a great deal of intelligence in the movie (and a great deal of wit, too), yet the intellectual mental jousting is made to blend entertainingly with the drama unfolding on the screen. The movie makes you feel smart and entertained at the same time. The movie won a wagonload of Oscars, and deservedly so. Anyone interested in learning more about More and his fight with Henry should read Peter Ackroyd's excellent biography THE LIFE OF THOMAS MORE.

I have loved this movie since I saw it in its original release too many years ago. Certainly, Sir Thomas More was a magnificent person who died a martyr and has been canonized a saint. However, don't confuse the play and movie with the flesh and blood man. He was much more complex in real life than the purely noble performance of Paul Scofield. You can read the biography of Thomas More by Peter Ackroyd to get at some of his complexities.

But this is a wonderful movie and I recommend it with great enthusiasm. It is a powerful movie and can have some useful at least temporary curative effect on the soul suffering under the ironical detachment and cynicism of our time. Scofield is wonderful and the definitive performance of this role. Orson Welles is quite special as the corpulent and corrupt Cardinal Wolsey. John Hurt is superb as the traitor Richard Rich. Shaw is fine as Henry VIII as is the rest of the cast.

And who can forget the line where More asks to see chain of office that Richard Rich was given to perjure himself and betray More. After examining it and being told that Sir Richard was made the Attorney General of Wales More says, "Richard, it profits a man nothing to trade his soul for the whole world, but for Wales ..." Wonderful stuff.

The disk offers the wide screen theatrical release and a full screen version for those who like to see less of the picture in order to avoid the upper and lower "bars". There is also the original trailer.

There are no other features on the disk beyond scene selection.

This disk belongs in every collection and should be reviewed regularly as an healthful tonic to help remedy the bilious nihilism of our age.

Films such as this are rare today; 'A Man for All Seasons' turns not on action sequences of battles past or present, nor on love affairs, or indeed political issues that have a burning relevance for today. It is not a comedy, nor a tragedy in the classic sense. In a word, it would seem to have little to recommend it -- however, it is one of the best film ever produced. Turning largely on the issue of personal integrity and the conflict of competing calls to faithfulness, this is a drama of the interior struggle of Sir Thomas More, Lord Chancellor of England, writ large across the political/religious landscape of Henry VIII's England.

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.

Simply put, this is quite possibly the finest film ever produced. Upon every level on which films are judged, this work of genius scores the highest attainable marks. It is a joy to watch, it is a joy to listen to, and it is a joy to reflect upon long after it is over.
The dialogue is so brilliantly crafted, it often leaves you physically gasping. The performances are so astonishing, you completely forget that you have seen most of the performers many other times, because it is impossible to disassociate them from these characters and this time period. The cinematography, the set design, the score, the lighting, the costume design, all are absolutely extraordinary.
Granted, this film is not for everyone. There are no explosions,
sex, potty humor or car chases. But if you would enjoy an interesting moment in British history, extremely well presented, this jewel of a movie is an absolute must-see.

Almost all talk but never "talky", this is still one of the finest stage adaptations ever. We enjoy Robert Bolt's rarefied language, but the story moves with crisp economy. The low-brow fun of Showtime's The Tudors, may whet the appetite for additional prospective on the drama's action, but the focus on Moore's fate resonates in each new era as the title suggests. (Roberts Shaw's portrait of a petulant, belligerent ruler convinced he's on God's side certainly rings a bell.)

Marvelous British cast directed with Fred Zinneman's austere understatement. This marks the first great performance by John Hurt, and fans of Rumpole will marvel that Leo McKern plays one of the most hateful prosecutors imaginable. Orson, the lone American is completely convincing without ladling on the English accent. (And why doesn't the great beauty and fine actress Susannah York ever get her due?)

I must say though that this DVD really pushes the definition of the "special edition". There's no commentary of any kind here, either from a historical or filmmaking perspective. There's no material dated from the time of the film's release. The only thing they supply is a brief academic take on Thomas Moore that's 20 minutes long and about 5 of those are scenes from the film!

I have been buying versions of this classic since the old Beta days. This is the sharpest, cleanest version yet. It represents a major improvement over the last DVD edition. There is also a 5.1 soundtrack, so the film sounds better than ever before.

In addition to the transfer, there is a short recently produced featurette, with Thomas More scholars, literary excerpts, and some historical context and images.

If this is a favorite film of yours, the improved presentation, and short feature, make this a worthy buy, even if you have earlier incarnations.