'Becket' revival reveals brilliance of Burton, O'Toole

"Becket" was a big deal back in 1964. Adapted from a much-praised Jean Anouilh play about the English King Henry II and his ultimately mortal battle with his onetime best friend, Thomas à Becket , it earned 12 Academy Award nominations.

The movie, which opens today for a limited run at the Kendall Square Cinema, slathered on the prestige: starry cast (Richard Burton, as Becket; Peter O'Toole, as Henry); photogenic settings (lots of medieval cathedrals and palaces); high-minded issues (church vs. state, duty vs. friendship); and even hints of scandal (more than a whiff of homoeroticism -- and what is it about O'Toole and flagellation?).

As it happened, "Becket" won just one Oscar, for Edward Anhalt's leaden script. The big winner that year was "My Fair Lady " -- and the big winner ought to have been "Doctor Strangelove." Everything that "Strangelove" is -- daring and inspired, vibrant and brilliantly staged -- "Becket" is not.

Henry, a Norman, wants a life of perpetual wine, women, and male bonding. Becket likes the sound of that, but yearns for nobler things as well. He answers the call of his church -- Henry makes the very big mistake of naming Becket archbishop of Canterbury -- and feels a growing responsibility to his downtrodden fellow Saxons. Of course, the real Becket was every bit as Norman as Henry. But pageantry, not accuracy, is the business "Becket" is about.

The one thing going for "Becket" is actually two things: Burton and O'Toole. Thanks to "Venus ," O'Toole is back in the public eye. "Becket" was his first movie after "Lawrence of Arabia." With his narrowed gaze and mandarin facial hair, he could be auditioning for the part of Pu Yi in "The Last Emperor " (instead of the tutor). O'Toole is consistently over the top, giving us a King Hal who wants to be his own, slimmed-down Falstaff.

Burton, in contrast, is a model of restraint. There's no "Venus" for him, alas. Who today remembers Richard Burton? Yet there was a time when he was seen as the foremost actor of his generation. Then Elizabeth Taylor happened to him. Brad and Angelina are a media sensation, sure, but compared to Dick and Liz they're a week of C-SPAN with Congress adjourned. Burton's reputation went into a decline from which it's never recovered. There are moments here, though -- as when he banters with John Gielgud , playing the king of France -- when Burton's stature is impressively manifest.

There's a real charge when he and O'Toole share the screen. "Becket" is best experienced, perhaps, with eyes closed. Revel in the sheer magnificence of those two voices as they engage in a dueling duet for bassoon and oboe. If only they had an orchestra worthy to accompany them.

Mark Feeney can be reached at mfeeney@globe.com.