A Vitagraph advertisement in the 9 Jul 1910 Moving Picture World called Becket an “Historical Tragedy of the Twelfth Century, relating to the tragical fate of Thomas à Becket, Archbishop of Canterbury. A magnificent production, correct in detail and with superb scenic backgrounds.”
The 16 Jul 1910 Moving Picture World ran the following commentary: “Again we find it our duty to hand out our very highest praise to all those concerned in this splendid Becket picture. To begin with: The acting is exceedingly fine. We were much impressed by the dignity of the Becket, and the willfulness of the haughty King. All the minor characters, knights, priests and monks, and the like, were acted with conviction and care. These were not mere stage supers; they were well trained, conscientious, careful actors. And then the scenery: architectural and otherwise—how astonishingly natural it all looked! We say this without reserve; we are familiar with the originals. Again, the dressing of the piece struck us as being accurate and with taste, whilst as to the photography of the picture, this was a veritable feast to the eyes which, like our own, have been looking at photographs these many years and always like to look on a good one, but recoil at indifferent work. We take pleasure in mentioning it is to Mr. [Charles] Kent, who impersonated Becket, that chiefest credit for this beautiful production is due.” ...
A Vitagraph advertisement in the 9 Jul 1910 Moving Picture World called Becket an “Historical Tragedy of the Twelfth Century, relating to the tragical fate of Thomas à Becket, Archbishop of Canterbury. A magnificent production, correct in detail and with superb scenic backgrounds.”
The 16 Jul 1910 Moving Picture World ran the following commentary: “Again we find it our duty to hand out our very highest praise to all those concerned in this splendid Becket picture. To begin with: The acting is exceedingly fine. We were much impressed by the dignity of the Becket, and the willfulness of the haughty King. All the minor characters, knights, priests and monks, and the like, were acted with conviction and care. These were not mere stage supers; they were well trained, conscientious, careful actors. And then the scenery: architectural and otherwise—how astonishingly natural it all looked! We say this without reserve; we are familiar with the originals. Again, the dressing of the piece struck us as being accurate and with taste, whilst as to the photography of the picture, this was a veritable feast to the eyes which, like our own, have been looking at photographs these many years and always like to look on a good one, but recoil at indifferent work. We take pleasure in mentioning it is to Mr. [Charles] Kent, who impersonated Becket, that chiefest credit for this beautiful production is due.”
“Thomas à Becket was born in London. In 1155, he was made Chancellor of England by Henry II. Upon the death of the Archbishop Theobald of Canterbury, in 1162, at the time of this tragedy, he was elected, through King Henry’s influence, to the vacant see. This exceptional film starts with a scene in the palace of King Henry II, showing Henry and Becket playing chess. The game is won by Becket, greatly provoking the King, who becomes angry. While in the midst of this tantrum, a messenger enters and presents Henry with the announcement of the death of the Archbishop Theobald, together with the bishop’s cross. Henry is shocked, and, as he looks at the cross, half in jest and a desire to ridicule, he offers the jewel to Becket, and then places the cross with chain attached around Becket’s neck, hoping it will prove a yoke to the wearer in his efforts to sustain the dignity and piety of the church, which, of course, he thinks is quite impossible for Becket to do. In this he is mistaken. Becket feels his unworthiness, but, inspired by the holiness of the office and its great responsibility, he at once, by prayer and castigations, prepares himself for its duties, which he devoutly and reverently accepts. While at devotion in the palace of the Archbishop of Canterbury, Becket is surprised by King Henry and his courtiers, who rudely interrupt him by their cruel and coarse laughter when they see him in his priestly robes in the attitude of humility and abnegation. Filled with majesty and divine spirit of his office, and aroused by a righteous indignation, Becket commands Henry and his ...
“Thomas à Becket was born in London. In 1155, he was made Chancellor of England by Henry II. Upon the death of the Archbishop Theobald of Canterbury, in 1162, at the time of this tragedy, he was elected, through King Henry’s influence, to the vacant see. This exceptional film starts with a scene in the palace of King Henry II, showing Henry and Becket playing chess. The game is won by Becket, greatly provoking the King, who becomes angry. While in the midst of this tantrum, a messenger enters and presents Henry with the announcement of the death of the Archbishop Theobald, together with the bishop’s cross. Henry is shocked, and, as he looks at the cross, half in jest and a desire to ridicule, he offers the jewel to Becket, and then places the cross with chain attached around Becket’s neck, hoping it will prove a yoke to the wearer in his efforts to sustain the dignity and piety of the church, which, of course, he thinks is quite impossible for Becket to do. In this he is mistaken. Becket feels his unworthiness, but, inspired by the holiness of the office and its great responsibility, he at once, by prayer and castigations, prepares himself for its duties, which he devoutly and reverently accepts. While at devotion in the palace of the Archbishop of Canterbury, Becket is surprised by King Henry and his courtiers, who rudely interrupt him by their cruel and coarse laughter when they see him in his priestly robes in the attitude of humility and abnegation. Filled with majesty and divine spirit of his office, and aroused by a righteous indignation, Becket commands Henry and his followers to mend their ways and flee the wrath of God, lest they be destroyed. With cowering glances and slinking tread, they leave his presence, shamefaced and abashed. Henry is now at enmity with the clergy. The scenes which follow show the incidents which lead to the attempted assassination of Father Gerard, the King’s confessor, for the denunciation of the King’s paramour, Rosamond. Henry, smarting under the opposition of the church, drafts a constitution which makes it possible for the King alone to put to death without court trial any member of the clergy whom he may accuse. This sounds the death knell of Becket, against whom the King bears great enmity. The Archbishop realizes his position, and his fears are soon brought to a reality. He is pursued by the minions of the King, who proceed to the Cathedral of Canterbury and slay him while he kneels in prayer before the crozier. The murderers carry the news to the King, apprising him of the execution of his dictate. He and his court tremble as they appreciate the enormity of their crime against the head of the church. Scarcely do they recover their nerve when retribution follows the King in the announcement that his own sons have seized the Kingdom of France; the Scots have crossed the border, and there are general uprisings in the midland. Crushed and half-crazed, Henry falls, a tottering wreck, against the throne, while the vision of the murdered Archbishop Becket, in beatific attitude, appears before him. The King, with conscience aflame with fear and remorse, collapses, a helpless and wretched mass, while the vision fades away.”—9 Jul 1910 Moving Picture World
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