A Man for All Seasons

A Man for All Seasons

Steely with conviction, luminous with wisdom and wit, Fred Zinnemann’s impeccable film of Robert Bolt’s play about the life of Thomas More explores what defines a man, or what is left to a man who has no defining center that cannot be bought or coerced. Successful, urbane, gregarious, ridiculously talented and accomplished, Thomas More was the toast of his times. Then, at the height of his career, this splendidly well-adjusted man abruptly withdrew from public life, gave up his household and living, and eventually submitted to arrest and imprisonment, and finally execution. All this, because he would not give approval under oath to King Henry VIII’s claimed title “Supreme Head of the Church in England,” nor accept Henry’s marriage to Anne Boleyn after divorcing Catherine.  

Such costly conviction is foreign to our post-Clinton era, when achieving or maintaining power or fame is its own justification, and the capacity for reinventing oneself is a basic survival skill. When a brilliant and charismatic lawyer becomes his country’s highest ranking government official, and is then accused and tried for a crime, we don’t expect him to be so concerned about perjury that he chooses to sacrifice his career, income, holdings, freedom, and eventually his life. 

Paul Scofield, who originated the role of More on the stage, gives an effortlessly layered performance as the man whose determined silence spoke more forcefully than words, until he spoke even more forcefully by breaking it. The screenplay, adapted by Bolt, is fiercely intelligent, resonant with verbal beauty and grace, often relying on More’s own words. “For the rest,” Bolt has noted, “my concern was to match with these as best I could so that the theft should not be too obvious.” He succeeded. 

–Steven D. Greydanus (Written for the 2010/11 Top 100)

  1. Directed by: Fred Zinnemann
  2. Produced by: William N. Graf Fred Zinnemann
  3. Written by: Robert Bolt
  4. Music by: Georges Delerue
  5. Cinematography by: Ted Moore
  6. Editing by: Ralph Kemplen
  7. Release Date: 1966
  8. Running Time: 120
  9. Language: English

Arts & Faith Lists:

2005 Top 100 — #19

2006 Top 100 — #27

2010 Top 100 — #31

2011 Top 100 — #25

2020 Top 100 — #28

Similar Posts

  • Schindler’s List

    Provoking intense responses both from admirers and detractors, Schindler’s List is the story of a Nazi, Oskar Schindler, who saved more than 1,000 Jews from death. The relationship of mutual gratitude between Schindler and the people he saves is the irreducible element that sets Schindler’s List apart from other chronicles of the Holocaust. Schindler saves the Jews…

  • 7th Heaven

    Director Frank Borzage first transports us to a dark, ugly, seedy world of poverty and inequality in Paris. The pre-code masterpiece deals with the later-taboo topics of abuse, prostitution and atheism. The Hayes’ Code was designed to present and protect “moral decency” on film. But by showing some of the realities of life that the…

  • Vivre Sa Vie

    My Life to Live (1961) opens with a series of closeups of Nana (Anna Karina)—her left profile, her face straight on, her right profile, and then, in the first dramatic scene of the film, a two-minute shot of the back of her head, as she breaks up with a boyfriend in a busy Parisian cafe. The…

  • Winter Light

    John Ford’s 1956 Western, The Searchers, ends with the camera framing a doorway, looking out into the gloriously filmed desert. As his remaining friends and family cross over the threshold into the welcoming house, John Wayne’s Ethan Edwards stays outside, watching them. Then he pauses a moment, turns, and walks off into the red dust. There’s…

  • Paths of Glory

    Classifying Paths of Glory as an anti-war film is the result of lazy thinking. Shot in simple black-and-white in 1957, this is the film that put director Stanley Kubrick on the map, and there’s a very good reason why. While loosely based on a true story referred to as the “Corporals of Souain” during World War I…