England, 16th century. Sir Thomas More refuses to sign an oath approving King Henry VIII’s assumption of supreme authority over the Church of England. Though More certainly frowned upon the well-known and sordid motivations for Henry’s audacity (his desire to divorce Catherine of Aragon and wed Anne Boleyn), his refusal is due to much loftier objections. For More’s devotion is to God first, then king. Logically, any act in defiance of God (or more specifically, the Pope, God’s representative on Earth), cannot be met with approval. Unfortunately, such sound arguments do not hold sway over the tempestuous king, and More becomes a target for his liege’s wrath.
The grand themes inherent in this famous tale are here admirably espoused. We see the pious More enduring the consequences of honesty, appraising the value of truth, and understanding the illusion of justice. Throughout, the villains are clearly delimited, the heroes equally so. Uncluttered static shots, bold colors, and an economical score all enhance the film’s unambiguous narrative. Add in Paul Scofield’s considered portrayal of More and you have an efficient, well-structured film that is easy to praise.
If fault is to be found, it lies within this very straightforward quality of the tale. For aside from a general concern for the welfare of his family, there is no conflict in More, no doubt, and hardly any passion. Rarely does he go so far as even to raise his voice. He doesn’t merely believe he is doing right, he knows it. At times, this self-assurance nearly descends into smugness, resulting in a venerable but cold character. In fact, Robert Shaw’s King Henry is the only person in the film that seems truly alive, conflicted, dishonest, and megalomaniacal, yes, but alive. Just a touch of Henry’s impulsivity injected into the measured More would have brought us an intimate connection to this extraordinary man. As it stands, we are left with distant admiration.
by Thomas Scalzo | Source: Turner Classic Movies Broadcast
12 Jul 2008 4:14 PM | Submit Comment