When I am invited to give a lecture on film, I often make the claim that “A Man for All Seasons” is a perfect film. What I mean is that everything in the film “works” to produce a nearly perfect film — a film that is truly a masterpiece. The plot, the acting, the dialogue, the color and camera work, the music, the pacing — every aspect of the film contributes to the complete work. I don’t think there is any flaw in the film.
I had an interesting experience when the play, “A Man for All Seasons,” was on Broadway. I first saw the play when it was in previews, before any critics had had a chance to review it. The seat I had in the theater was in the orchestra. I recall looking up at the balcony and seeing that there were many empty seats. I guessed that the play might have a limited appeal, drawing only Catholics.
After the play opened and received rave reviews, I attended another performance. The theater, including the balcony, was packed with people. I concluded that masterpieces have a universal appeal. While a play about a canonized saint might have a special appeal to Catholics, masterpieces transcend any parochial interests. If a play is great, people will come.
I won’t even try to guess which is superior as a work of art, “A Man for All Seasons” on the stage or “A Man for All Seasons” on the screen. I am even wondering if such a comparison might be possible. I know that I have viewed the film many times, due to the film festivals I have conducted and the numerous times I have had one of my classes watch it. Every time I have viewed the film, I have been deeply moved.
The following is the first paragraph of the essay on the film in “The Movie Guide: A Comprehensive Alphabetical Listing of the Most Important Films Ever Made” (James Monaco and the Editors of Base Line, June 1992):
“This film adaptation of Robert Bolt’s hit play is a rare combination of a film that was both religious and commercial. Studio executives were unsure whether the regular folks would show up for the story of Sir Thomas More, a Catholic statesman in England who rebelled against Henry VIII’s self-proclaimed status as the head of the Church of England and paid for his religious beliefs by having his head exhibited on London Bridge.”
The film won six Academy Awards. Paul Scofield’s portrayal of St. Thomas is just about perfect. I cannot think of Thomas More without having an image of Scofield in my mind.
I don’t know of any other film that has its dialogue so frequently quoted by people who love the film.
I will just offer two examples. The Duke of Norfolk, portrayed by Nigel Davenport, trying to persuade his friend More to sign the document making Henry the head of the Church in England, pleads with More to sign the document, which so many have signed. Norfolk asks More to sign it “for fellowship sake.” More asks Norfolk that if he, More, signs it against his conscience and consequently lands in hell, will Norfolk join him in hell “for fellowship sake.”
Near the climax of the film, Sir Richard Rich lies under oath, and his testimony seals More’s fate. Rich’s reward for his perjury wins him a prestigious position in Wales. Learning of Rich’s reward, More confronts Rich as he leaves the witness stand. More says to him, “Richard, it profits a man nothing if he loses his soul in order to gain the whole world. But for Wales?”
Writing this column, I have been reviewing in my mind many scenes from the film. As I have mentioned, Scofield’s performance is excellent, but every member of the supporting cast turns in an excellent performance. Wendy Hiller plays More’s wife Alice, Orson Welles is Cardinal Wolsey, Robert Shaw is Henry VIII, Leo McKern plays Cromwell, Susannah York plays More’s daughter Margaret, John Hurt plays Sir Richard Rich, Colin Redgrave plays Margaret’s husband, Colin Blakely plays Matthew, and Vanessa Redgrave, in a cameo role, plays Ann Boleyn.
Reflecting on the film “A Man for All Seasons,” I am reminded of what kind of films can be created by talented writers and performers, and all the other artists involved in the making of a film. However, I must admit that many inferior films have been produced. Probably, they have contributed to the opinion held by many that film is an inferior art form. Those artists who made the choices that eventually led to the cinematic masterpiece “A Man for All Seasons” have produced a work of art that can enlighten and inspire millions.
Father Lauder is a philosophy professor at St. John’s University, Jamaica. His new book, “The Cosmic Love Story: God and Us,” is available on Amazon.com and at Barnes & Noble.