Elmer Gantry

 SPOILER ALERT! The plot will be discussed.

Elmer Gantry, a 1960 film, winner of the Oscar for Best Picture, was controversial for its time in examining Christian revivalism.  It starts with opening notes that, although granting the importance of freedom of religion, state that right “is not license to abuse the faith of people.” The story argues that unscrupulous persons can exploit this basic freedom. The movie, which has multi-faceted characters, explores how American Christian evangelism sometimes uses the techniques of salesmanship and entertainment to further its aims. 

 The opening credits use the Christian symbol of the cross, but it, as well as the names of those making the movie, are askew, suggesting a warping of Christianity’s message. The story, based on the Sinclair Lewis novel, takes place in the 1920’s. Elmer Gantry (Burt Lancaster in an Oscar winning performance for Best Actor) is drinking in a bar close to Christmas while loudly telling a joke to other inebriated men about infidelity. His hair looks like an exaggerated version of the style worn by famed Evangelist Billy Graham. He eyes a beautiful blonde (wearing the passionate color of red) at the bar, so we already see a man who likes to pursue his less than religious inclinations. The men later refer to his “little black book” of names of his female companions. A man and a woman enter and as they appeal to the Christianity of the patrons for charitable donations they receive a negative response. However, Gantry, a charismatic salesman, gives a rousing speech, as he collects money from the tables for contributions, that extols how Jesus was a warrior who took on the Roman Empire with the power of love. The blonde seems impressed, and that may partly be Gantry's reason for the moving remarks. He flashes that oversized Lancaster smile that reveals many teeth, a combination of warmth and intimidation. He says, “Love is the morning and evening star,” words he repeats during the movie, which shows it is a rehearsed line used to appeal to the sentimental person. He says to her he was talking about “divine” love, not the carnal kind, but his words are just a disguise for his true intentions at this point. She thinks he is a “parson,” but learns from the other men as they leave that Gantry is not a cleric. We know he is not financially successful since he can’t even pay the bill (probably squandering his earnings) and tells the owner he’ll have to extend him some credit. For Gantry, charity begins at someone else’s home. 

 Disillusioned, the woman says that the world is devoid of love. He buys her a drink (so to speak), and the next scene shows the hungover Gantry waking up in his hotel sprawled out in the bed with the woman's shoes on the floor. The two may still be clothed, next to each other on the bed, but it is implied that, using his good looks and charm, he has provided sexual passion as a substitute for love to another in a long line of females. The bellhop, whose “Merry Christmas” generates no tip from the fake Christian advocate, says that Gantry’s mother called him. He talks to her on the phone and lies as he says he just returned from church and prayed for her. The man even cons his own mother. He pretends that he sent her a gift that must have been lost in the mail. He tells her not to cry, as he will not be returning home for Christmas, so we know he has broken promises to her many times. He leaves the sleeping blond and writes, appropriately with red lipstick, “Merry Xmas,” on the mirror, which reflects his superficial caring about others.

 

Gantry hops on a railroad car with other hobos, who, down on their luck, try to take his shoes while he sleeps. He wakes up, and thrashes the desperate men, followed by him throwing his suitcases and himself out of the car. The scene mirrors the hard times of the Great Depression, and Gantry’s first thoughts are for himself. As he walks with his belongings there is a sign in the background promoting a “revival meeting” with the picture of Sister Sharon Falconer (Jean Simmons) and the words that promise “she can save you.” As the film progresses, there is a question as to whether she needs to be saved. Her last name suggests someone who can tame birds of prey, which may refer to sinners. Gantry hears a hymn being sung and enters an African American prayer meeting. They are suspicious of the white man who has entered, but he knows the words to the song and sings them loudly. They join him in the spirit of Christianity, and their innocence contrasts with the dubious devotee among them. He acquires food for shoveling coal at the church. The reverend sees that Gantry has a picture of a scantily clad showgirl, and Gantry covers up his lust by denouncing the lascivious material, tossing the picture into the furnace. He knows the teachings of the Bible and equates the fire with that of God’s wrath. At this point he is that wolf in sheep’s clothing, the threat of danger beneath a pleasing exterior.

 

Gantry uses his high-powered sales pitch in an attempt to get a storekeeper to buy his small appliances. The man is not convinced, having bought some items before that didn’t sell. Gantry sees another poster of Sharon and asks if she is a good preacher. The store owner says he only goes to prayer meetings when times have been hard, which shows how some are only interested in religion for selfish reasons and not out of true devotion. 

The film continues to display Gantry’s character flaws. There is an almost empty bottle of whiskey that sits in front of him as he tries, without success, to revisit a romantic encounter with a married woman, and loses at gambling on a horse race. His disreputable behavior contrasts with the revivalist music played outside his hotel window. Gantry goes to the tent revival meeting that evening. William L. Morgan (Dean Jagger) hosts the event, which is filled with people singing hymns along with a choir. Sharon enters and Gantry is taken by her beauty and the crowd's adoration of her. She is a salesperson in her own right, except she is promoting religion. She is dressed in a milkmaid’s outfit and enters with a pale of the liquid she supposedly obtained from milking a cow. She relates to the rural people by saying she didn’t want to stay in a church, but instead wanted to see what these people saw every day which is God’s handiwork reflected in nature. She does not want to deliver a solemn sermon, but instead wants them to be joyous in their faith, which works as a selling point. She uses humor to tap into the congregation’s generosity as she passes out several buckets to collect donations, saying people can’t make milk and God doesn’t make money. As she speaks, the skeptical journalist, Jim Lefferts (Arthur Kennedy) casts a cynical eye at her. 

 

Sharon’s smiling surface drops for a moment when Gantry tries to get a private audience, and Morgan places the bucket in front of Gantry, who has no money, which implies one has to pay a toll to interact with the supposedly approachable preacher lady. The next scene adds to that distance as she says she doesn’t have time for one of the worshippers and delegates others to carry out ministerial duties. Another attendee demonstrates Sharon’s strong influence when she says after Sharon’s prayer gathering her son saw the Virgin Mary on the roof. Gantry pretends to be a preacher, but Sharon is able to see through his guise when he can’t say which church he belongs to, She quickly deduces that his problem is either booze or women, and he lies by saying he indulges in neither. She leaves him standing there and the sarcastic Lefferts, who also recognizes the ploy, tells him it was a nice try.

 

So, Gantry looks for someone more accessible, and he zeroes in on the woman who sang at the beginning of the prayer meeting, Sister Rachel (Patti Page). He flatters her about her singing and spouts talk about God’s love and its association with music, appealing to her interest. He acts like he only wants apple pie when they go to a restaurant, as he presents a wholesome façade. He lies about being offered an elevated position in the appliance company to impress her. 

 Sharon looks exhausted after literally putting on a happy face, and waves to the crowd at the train station. Gantry hops aboard the train, joins Rachel, who is smitten with him since she says she was concerned he wasn’t going to show. He then continues his devious behavior by pretending to be Lefferts, leaving a message with the conductor that he wants to see Morgan. Gantry continues to get at Sharon through those around her as he talks with Lefferts on the train’s observation platform. Lefferts is modeled after journalist H. L. Mencken (Gene Kelly played another version of the evolutionist devotee in Inherit the Wind, also analyzed in this blog). Gantry asks if he can be frank with Lefferts, who is witty and insightful when he responds, “Try,” knowing full well that Gantry is working an angle. He does admit to Gantry that he will have to get past Morgan to reach Sharon. 

 

By getting Morgan to leave Sharon to see Lefferts, Gantry is able to sit in Morgan’s seat (Lefferts interviews Morgan, who is a believer in Sharon’s inspirational abilities, as he says she is touched by God). Gantry, using what he learned from Rachel about a riot between the evangelists and some “roughnecks” in Missouri, falsely says he was there at the altercation and he is able to quote her fighting words, which were “Bust ‘em one for the Lord, brother,” back to her. The memory makes her laugh and Gantry has broken through her defenses. He says he tried to be a cleric but there was a girl that he became associated with, LuLu Bains (Shirley Jones, who won the Best Supporting Actress Oscar for this role). He says he went to pray and found LuLu half-naked with a lover behind the altar and he gave up on becoming a preacher. But, he says his faith was revived when he saw her at the prayer ceremony (another lie), and he wants to see her socially. She admits she likes his outrageous nature after being around “sanctimonious” people so much, and that he is “amusing” and “smells like a real man.” So, he arouses her physical nature, as opposed to the spiritual one.  

 

At the next tent revival, the police tell Sharon that the number of people in attendance will violate fire safety laws. She counters by arguing that the illegal alcohol interests don’t want her preaching intolerance and support of the current law of Prohibition. Gantry tries to convince Sharon to let him share how religious beliefs are practical for the businessman. He begins by fraudulently saying how he loves his job, was offered a junior partnership, and how many customers know him by his first name. It is the same spiel he used before. But, he can see that Sharon is too smart to buy his sales pitch. He is now truthful when he says the work is terrible, “chasing trains, “staying in “filthy” hotels, telling dirty jokes just to keep customers “laughing,” and bringing booze to ingratiate himself with others. He comments on his phony appearance by calling himself “a tramp in a silk shirt.” He then gets the idea to tell the congregation about his miserable, lonely life and then being saved when he found in a hotel drawer a copy of a Gideon Bible. This story of personal redemption, although insincere, fits in well with Sharon’s religious message.

 The next scene nicely follows up on their conversation as Gantry tells the crowd what he pitched to Sharon. He says that after reading from a psalm in the Bible that God was his “fortress,” he was able to be honest with his clients and sell goods with God backing him for finding faith. (All of this is a fiction, but it sells). He is a natural at evangelical preaching as he tells those assembled that businessmen shouldn’t go to church on Sunday and then “cheat on Monday.” He duplicates his “religion is love” lines, which he told Rachel. There is a look on Rachel’s face which reveals that she probably realizes Gantry repeats stock phrases to win others over. He then courts the anti-elitist sentiment felt in the country’s heartland by saying how he is not a well-educated man but knows enough to see that Jesus saved him from the Devil. Morgan rolls his eyes at Gantry’s over-the-top theatrics, most likely feeling that they cheapen the richness of the sacred mission he is part of. Gantry appears surprisingly overwhelmed as a man admits he is a sinner and runs up to him for guidance. Others follow the man to thank Sharon for bringing Gantry to them, as they buy the desire to be blessed that he has sold them.

 

After the meeting, Gantry talks to a man cleaning up. The janitor says he repeatedly gets “terrible drunk, and then I get good and saved,” by various preachers, including Sharon. He suggests selfish indulgence and finding salvation are both powerful forces. His words can possibly imply that the pull between being unholy and being righteous wrenches people back and forth. His character may also suggest that some people do not have a strong moral center and are easily swayed. (I remember a Cheech and Chong show I attended when one of the duo said he was once stoned on drugs and then he was stoned on Jesus, revealing an addictive personality).

 

Lefferts is on the sidelines, recording what is happening, almost like the writer of this story gathering material for his work. Sharon sees Gantry on the stage and wonders to him if he plans to take over. She is only half-joking, as she most likely is concerned about being upstaged. She is impressed with how many people they added to their total of converts. She informs him that Morgan thinks he is “vulgar,” and she agrees but confesses to liking it. He kisses her in the moment. She seems to enjoy it and quickly becomes alarmed by the intimacy. He apologizes and says she “hypnotized” him. She says God chose her to have that power, and when he says he was also called by God, she puts him in his place by saying that she, not God, chose him. She is now all business, offering Gantry a position in her organization.

 

Lefferts talks with Gantry after Sharon leaves and asks how he acquired his “style.” Gantry seems sincere when he says that when he is in front of the gathering he just lets it “rip,” and he feels a powerful connection between himself and the others. He says in the end he feels as if he loves everybody. The cynical Lefferts says Gantry especially likes the attention of the women. Gantry laughs heartily, since he knows that is a weakness of his. Lefferts likens the tent to a circus and Gantry, not putting up any false front with the journalist, laughs along with him when Lefferts likens him to possibly becoming the most successful and “funniest clown of them all.” So, this type of “old time religion” that Gantry praised can also be thought of as a type of exaggerated entertainment, and the comparison is not complimentary.

 Sharon derides her followers’ expenditure of cash by saying those who play cards and the stock market will not get into heaven, but pledging money to her crusade will. Gantry chews up the religious scenery, bringing a chimp onto the stage to decry the evils of evolution. At one fire and brimstone sermon he stirs up the crowd into a religious frenzy to the point where a man howls like a dog as if expelling Satan. 

 

Morgan tells Sharon all of these shenanigans are in very poor taste, and he says that Lefferts is just using the ridiculous show as material for his column which makes the religious movement appear negatively. He likens the two of them as doing the bad cop-good cop routine, with Gantry scaring them and then Sharon promising them salvation. Sharon thinks that combination makes them a good team since people are confessing their sins and are being saved. The film shows her as wanting to reach worthy ends but with somewhat unsavory means. Morgan did some background checking, and discovered that Gantry was dismissed from a theological seminary for seducing the deacon’s daughter in the church where the father gave a Christmas sermon. This rendition is not the tall tale Gantry told Sharon about his fiancée cheating on him. Before he can provide more information, Gantry enters the area like a performer coming through a theater curtain. He even shouts, “Ta Da!” which sounds like the music played to accompany a performance. Gantry announces that they have been invited to the city named Zenith, which Morgan does not think they should visit. He says that their movement is for common, rural folk, not big city audiences. He calls Gantry a “crude, vulgar showoff.” Gantry counters by saying Morgan is “too good for the people. I am the people.” He is “common” and that is what most of the people are, so he is saying he can connect with the average citizen. But, the movie explores what happens when that connection is exploited and people are manipulated by someone who only appears to be doing good. Sharon says that Christianity started with common people, and wonders what God wants, as opposed to the desires of individual people. Morgan decides to go along with the plan to go to Zenith, a name that means reaching the highest position. Here, the name will carry with it a sense of irony.

 

There is a meeting in Zenith that includes George Babbitt (Edward Andrews), his last name being the title of another Lewis novel. He is a loud businessman, and the topic of discussion here involves church finances. As Rev. Philip Garrison (Hugh Marlowe) and Rev. John Pengilly (John McIntire) grudgingly bemoan the cash shortages, Gantry, now looking slick in a new suit, brings his salesmanship skills to the business aspect of religion. He says they need to get more people to attend church, and Sharon’s (and his) actions have brought pledged converts in increasing numbers, which means more monetary contributions. Sharon is quiet, at first, suggesting quarreling over money matters cheapens the crusade to save people’s souls. She then complains about how monetary concerns drag down the spiritual mission she is on. She basically says that her independent work goes to pay expenses and contribute funds to their churches. She is looking for them to help her by embracing her efforts. Before walking out, she tells the men that they are not really interested in a religious “revival,” and that means she is not the person they want. 

 

There is a debate afterwards as to how to spread their religion. Babbitt likens religion to entertainment, saying bingo and baseball games raise money, so why not use Sharon’s enterprise to bring in the crowds? He warns the men of the cloth there that they will lose their positions if their church boards don’t see increased church attendance. Pengilly says that there were only Christ’s disciples that started Christianity, so numbers don’t measure a religion’s success. Garrison argues that having people howl like dogs and transforming what’s supposed to be devout gatherings into circus events is not what they should be encouraging. He tells Babbitt that religion is not a business. But, he further distances himself from Sharon’s, and thus Gantry’s, tactics, by saying “revivalism is not religion,” implying that theatrical performance should not be a part of Christianity. After he leaves, Babbitt implies they have an opportunity to get people excited about religion with revivalism, since the country is grounded in Christianity. He points out that all the presidents have been religious men and Congress opens sessions with quotes from the Bible. The film here suggests there is a lack of separation between church and state.

 

Babbitt wins the remaining members over, and they will not hold church services on Sundays when Sharon’s traveling tent operation is in Zenith. The implied goal here is to maximize attendance at revival meetings, and thus add donating converts to the evangelical branch of Christianity. Sharon looks relieved and revived herself since probably she hopes raising money to continue her mission will not be so burdensome. 

 

Zenith conducts a welcoming parade with cheering citizens for Sharon and her organization. The depiction is satirical as the event looks like a circus event as there are acrobats and clowns. The spectacle is a mashup of the patriotic and the religious to arouse enthusiasm. There are marching Boy Scouts, and Gantry walks with Babbitt who is dressed in a military uniform. After the pageant, Gantry briefs the staff like a general giving orders to his soldiers, making sure they get written pledge forms in the hands of attendees. Later there is a large staff answering phones which looks like a corporate operation. Sharon appears overwhelmed by her star status, with many reporters firing questions at her as flashing cameras take her picture and asking about what she is going to wear as opposed to spiritual matters. Lefferts arrives and alerts her that again she is having an issue with the fire department about the size of the crowd that will be attending her meeting. It’s as if this problem is an omen about how people create uncontrollable situations which will punish them for their overzealous ambitions. 

 

The night of the meeting attracts all sorts of people, including those that warn of the end of the world, while others hold signs for and against revivalism (“Even Jesus drank wine” is one that urges repeal of Prohibition). College students try to drown out the hymn being sung by chanting the words of the Star-Spangled Banner, which stresses the church/state separation issue. The scene lends itself to confrontation. Babbitt wants to arrest the disrupters, but Gantry quiets him down, not wanting to incite adversity. Morgan tells Gantry that Gantry has succeeded in drawing an angry mob, and he doesn’t want Sharon to confront the rowdy audience. But, Gantry sees it as an opportunity, and gives Sharon a pep talk, basically saying city people are just as emotionally accessible underneath since all people fear “death.” So, the thrust here is that one can reach people through their fears. Gantry keeps repeating that Sharon “can” save them, and his voiced support of her abilities seems to cast a spell that allows him to escort her to the meeting.

 Sharon is quiet as she joins the congregation. She says that many have come to judge her motives, but she says that if she has sinned, then God will judge her. By extension, she also says that she has no right to judge her detractors. She quotes from the Bible that says that Jesus showed generosity toward enemies, winning them over with love. By saying these words, she deflects attacks by people against her and diffuses hostilities. She tells the choir not to sing, and her tranquil urging for prayer transforms what would be a loud revivalist commotion into a quiet contemplative meeting. Her sincerity even gets the atheist Lefferts to bend a knee, although he may be succumbing to peer pressure. After the event, her winning over the crowd just escalates her celebrity as throngs surround her car on the way out and at the hotel where she is staying. Gantry is actually protective of her, telling the reporters and others that Sharon needs quiet and rest. Even Morgan can appreciate his efforts here. Sharon collapses into sleep and Gantry sweetly places a rose next to her and tucks her in for the night. 

 

Lefferts dictates his next newspaper column, saying that Sister Sharon tamed the crowd with “simple prayer,” but he questions how that change in approach in the long run will win over more people than established churches can accomplish. His didactic approach has him asking what defines revivalism: “Is it a church, is it a religion, or is it a circus sideshow complete with freaks, magic and rabble-rousing?” He goes on to explore why a revival attracts so many. He wonders if the appeal is “to see a miracle, to be saved from a lifetime of sin in five minutes,” or to be embraced in “salvation” during a time that seeks physical gratification. The implication is that it contains all of the elements he raises, and offers the possibility of a spiritual uplifting when people seem mired in transient, everyday pursuits. His questioning article points out that there are no qualifications to be a revivalist, and no laws to “protect the public” from those who would exploit religion for personal gain. He argues that those involved in the revivalist movement get the legal benefits of running a tax-free enterprise and collect money “without accounting for how it is used.” 

 The scene shifts to a brothel, where prostitutes read Lefferts’s column, which cynically asks if there will be a decrease in “lust” and “adultery” if one contributes money to the revivalist cause. One of the women humorously says, “I hope not.” LuLu is there hearing about Gantry’s manipulative abilities which Lefferts says can make the innocent feel like sinners, and vice versa. LuLu’s repetition of the same words Gantry uses repeatedly to win over women about God’s love is ironic given this setting. She recounts how he seduced her physically while contradictorily sounding religious. When she says that he “rammed the fear of God” into her, in a church no less, the irony is compounded by the sexual innuendo mixed with holy references. She laughs about how her “bare soul” (another combining of contrasting words) was thrown out into the cold by her father, the reverend. Did these hypocritical actions by Lancaster and her cruel father alienate her from religion and lead her to her present state?

 

There is a popular backlash against Sister Sharon’s movement because of Lefferts’s article. Babbitt confronts Gantry and says that Lefferts revealed that he bankrolled the revivalist group to enhance his real estate business. He withdraws his financial support. The local Zenith churches also receive complaints based on Lefferts’s writings. The power of the press is demonstrated here, as well as how quickly the public can be swayed. Gantry visits Babbitt’s real estate office and has evidence that some of his properties contain an illegal liquor club and a house of prostitution, and there is an illegal card game going on right at that moment in the back of the building. So much for Babbitt’s proclaimed religious adherence. Gantry is there to blackmail the hypocrite to regain his support, so corruption is lurking beneath the righteous exterior of these men. 

 

Sharon goes to the Zenith newspaper publisher Eddington (Dayton Lummis), who carried Lefferts’s syndicated column, to complain about what she considers Lefferts’s unfair writing. Gantry and Babbitt show up there, too. She tells Lefferts, who is in attendance, that he implied that she misused funds, and she has only preached the word of God. Since neither she nor Gantry have any qualifying ordainment credentials, Lefferts asks her how they have the right to preach to anyone. She feels that she must have been chosen by God to do His work. He asks her if she had a “burning bush” moment where God spoke to her, and he is knowledgeable to point out that in the New Testament, God only spoke to Jesus. He then quotes a misogynist passage which instructs that women should be silent in religious matters to show how her own religion can be used to silence her. He is using religious texts to undermine Sharon’s self-justification to spread her manner of Christianity. But, Gantry gets Lefferts to admit that he only sees the Bible as great poetry and wisdom, but not that Jesus, through his divinity, can offer “life everlasting.” By getting Lefferts to admit his atheism, which refutes the basic tenets of Christianity, Gantry can persuade Eddington that Lefferts is not a fair and objective reporter, whose beliefs run counter to most Americans. He says he will refute Lefferts on the radio, with Babbitt extorted into paying for the airtime. 

 

On the ride away from the meeting, Sharon is demonstrably excited by Gantry’s performance in Eddington’s office. She then sends mixed signals, hugging and kissing Gantry. When he stops the car and responds, she pushes him away and says God sent him to her to be an “instrument” not a “lover.” He admits to being baffled by her and says he only wants her, not other women. She says she knows he had sex with Rachel, who he coldly constantly ignores after their physical encounter. She calls him out as a liar when he denies being with Rachel. He says he wants to “tear those holy wings off” and “make a real woman” of her. He says that he can provide her with a heaven of physical “ecstasy.” His words are a contrasting mixture of religious and carnal language, even to the point of suggesting a rape. He says that she wants to consummate their passion, and that all men and women are driven by this drive, and she should admit it to herself.

 

She drives him to a construction site for a tabernacle, and says that is what she really wants, a place where she can do her good work without running around, like a “circus” (even she compares what they have been doing to a sort of carnival act, which is what Lefferts called it). She says she wants a place for worship for all religions with a soup kitchen to help ailing bodies. She calls that “home” her “first love,” in contrast to what Gantry advocates. He admits that her dream is greater than what he can offer, and he is only a hick from nowhere. She confesses that she invented her current persona, and she is really from “shanty town.” But God brought the two of them together so that she can finish her constructing not only the place of worship, but presumably herself. He calmly agrees that it was God that joined them, and she then warms to him, now feeling that he is not trying to undermine her mission. She follows him under the building’s foundations, and the implication is that they have sex, again the lustful activity hidden ironically in a religious place. Gantry here plays the Eve role of tempting the more spiritual partner into indulging in earthly delights.

 As Sharon dreamily pours sand out of her shoes the next day, reminding her of the previous night’s physical pleasure, Gantry is on the radio ranting against Lefferts. He gives him the first name of “Lucifer,” attacking the man instead of his arguments. (Lefferts takes the attacks with smiles and laughs because he seems to know that Gantry is just using him to magnify Gantry’s brand). Gantry offers examples of a morally decaying society in need of a religious revival by holding up sexy French postcards, and stating he was propositioned by diseased prostitutes on Zenith’s main street. He offers no objective evidence of what he holds up as factual, and we know from his behavior that he is a fraud who projects his own failings onto others. He also attacks “foreigners” for bringing sinful ways to Americans, using those who are different as people to be targeted, a stance in opposition to Sharon’s speech echoing Jesus’s advocating the use of love as a way of dealing with enemies. In fact, Gantry gives his speech in a boxing ring, conveying his pugilistic stance. He again taps into that dislike of Ivy League elitism by saying they are his opponents, and thus, by extension, the foes of the rural citizens. As he speaks we also have LuLu listening and laughing, because she knows from personal experience Gantry’s hypocrisy. 

 

At an outdoor rally, which is a place he can use his loud voice to incite and turn a crowd into a frenzied mob, Gantry slams bottles of whiskey onto the ground to denounce booze (showing more of his hypocrisy). He implies the police are not cracking down on those that he declares are committing immoral acts. Gantry, accompanied by law enforcement officials, raid “speakeasies” (for dramatic purposes, Gantry knocks down doors) where alcohol is served, and houses of prostitution. At one of these he discovers Lulu, who laughs at his fakery, and Gantry is momentarily taken aback. He recovers enough to tell the cops to arrest her, probably so he can shut her up. He then thinks better of his action, and persuades Captain Holt (Barry Kelley) to release the hookers, probably deciding not to increase the likelihood that LuLu might expose him. To protect himself further, he secretly tells Holt to make sure the prostitutes will leave town quickly so he can cover his lying tracks.

 

Gantry’s public crusade gains much attention. Flowers, communications from political figures, and people from the city arrive at the revival’s headquarters. Sharon just wants to have a quiet picnic for her and Gantry. She appears to hope for a romantic relationship, but he is wrapped up in expanding her organization’s influence. He charms her and says their personal celebration can wait until after the day’s promotional agenda is over. His position is in jeopardy when Lulu calls, who has not left town, and thanks him for getting her released, implying she knows that he did it as a favor to keep her quiet. After hanging up she says she wants to contact Benny (Peter Brocco), a photographer, which can only mean she is planning some sort of exploitation. 

 She has Benny positioned on the fire escape so he can take pictures of Gantry being seduced. When Gantry shows up she is wearing a sexy negligee. He looks around, and he smartly suspects that the scene is planned for a “shakedown.” She admits that she was angry when he came in the previous evening with the cops to arrest her after he had dumped her long ago. She says she thought of blackmailing him, but when she saw him now, she remembered how much she cared for him. He admits to running out of her. She says her father contacted her and compared her to Jezebel in the Bible. She wonders why people see “hate” in holy scripture. What she says suggests the danger in how some can twist the meaning of words that carry with them divine justification. She refuses some traveling money and asks that he kiss her goodbye. Benny gets a picture of the kiss. But then Lulu shuts out the light and seems to want to abandon the blackmail plan as her desire for him revives. As she sits on the bed, she asks for him to stay a while, and says for him to tell her “lies” that she can “believe.” That comment points to how people believe what they want to believe, regardless of the truth, which they find they can’t accept. But he turns the light back on, showing how he isn’t going to give into his dark, lustful inclinations. She realizes that he will not be intimate with her, and is angry about Sharon winning him over. She then decides to get her revenge by accepting the money he offered, and she sexily stashes it into her garter-securing stockings, revealing a great deal of leg. A definite photo opportunity.

 

Looking like a rich man with a yacht, not a man of God who has forsaken worldly temptations, Gantry enters Sharon’s room wearing a naval outfit. He tells her he will take her on a picnic cruise. Even though his entrance is full of his usual bluster, when she embraces him, he reveals genuine feelings for her. As Sharon goes to get dressed, that joy is short-lived as Morgan arrives with photos of his encounter with Lulu. She wants $25,000 in cash brought to her by Sharon to where she worked as a prostitute before it was raided. Lulu most likely wants to stress Gantry’s duplicity and the damage he can cause to women he seduces. 

 

Despite her humiliation, Sharon agrees to the meeting, probably because she doesn’t want to publicize Gantry’s scandalous activity and have her movement associated with it. She arrives per Lulu’s instructions, and a screeching cat greets her and then pokes around some liquor bottles to stress the unseemly location. (Is the feline there to make a reference to the place having been a “cat” house?). There is a contrast between Sharon’s conservative clothing and Lulu’s sexually enticing outfit, but they have both been seduced by the same man. Sharon drops the money on the table and asks for the negatives of the pictures. Lulu just laughs and kicks the money. She apparently just wanted to delight in a form of revenge by embarrassing the supposedly upright Sharon for being complicit in a cover-up and becoming involved with a fake religious zealot.

 

The compromising pictures show up in the newspaper. Eddington confronts Lefferts about his turning down Lulu’s offer of supplying the pictures to him. Lefferts argues that a free press can refuse to aid a blackmailer by publishing unscrupulous stories. He concluded that the photos were taken secretly to attack an individual, and he says they only revealed that Gantry is “human,” subject to temptations as others. He apparently does not go along with a counterargument that, despite the motivations of the informant, the press must expose hypocrisy to alert the public not to be taken in by con artists. 

 

There is now a dwindled crowd attending one of the tent meetings, and there are hostile members among them. Lulu also shows up, apparently to gloat. One man pulls out a whip and starts to crack it and others yell derogatory remarks as they throw eggs and other food at Sharon, Gantry, Morgan, Rachel and others. Lefferts is there, but he is disgusted by the ugly response of those in attendance, apparently advocating that two wrongs don’t make a right. As the man with the whip tears down Sharon’s revivalist sign, Gantry is plastered with garbage and one woman spits on him. Lulu did not expect the intensity of the negative response and runs out of the tent, presumably feeling guilty. The mob trashes the congregation meeting area. When Sharon and Morgan reach their offices there is the clamor of ringing phones from people shouting hateful messages. Sharon wonders why God has “forsaken” her. She apparently is not sensing any divine mercy for her human indulgences and mistakes. 

 

Lulu returns to her place only to be met by her pimp who beats her up for not getting money for the story and the photos. He asks if she did it because she hates Gantry or loves him that much. The answer is that both are probably true, since Gantry hurt her by abandoning her and then she wanted retaliation by exposing him and stopping him from being with Sharon. Gantry arrives and beats Lulu’s attacker and then knocks him out. Despite her ruining his success with the religious movement and with Sharon, Gantry acts like a true Christian here as he tends to Lulu and says he is sorry for everything, which includes how he wrecked her life. 

 Back at the tent space which is in shambles, and which mirrors the condition of the movement, Lefferts and Gantry share a drink of whiskey, exhibiting no hard feelings toward each other. Gantry probably sees it as one of his many enterprises that just didn't work out. He is even funny how he pretends to demonize drinking booze by saying there ought to be a law against it, since Prohibition just says one can’t sell the intoxicant. Gantry wonders why people became so angry. Lefferts says that people don’t like their Gods to be so human. His observation comments on how “fan” is short for “fanatic,” so hero-worship is a sort of madness to which people capitulate their reason. Gantry admits to truly believing in God and religion, which universally comforts people from all walks of life who are “scared or sick, because they got no money, or have too much money, or before a war, or after a war.” He adds that “praying is the cheapest first-rate medicine I know.” After Gantry praises Sharon, Lefferts says Gantry ought to marry the woman. Gantry feels that it’s too late for that. But, Lefferts shows him a copy of the next edition of the newspaper which has Lulu saying that she framed Gantry, and he is cleared of any moral’s charges. Gantry’s good deed toward Lulu engendered one in return.

 The crowd is back, thirsting to worship their hero and heroine again. But, Gantry has been missing for three days (a Cristian number associated with resurrection), and Sharon is convinced he will return for the night’s proceedings at the finished tabernacle. He does show up behind the venue and suggests they leave the movement, go off and get married, have children and lead a private life. She feels her destiny is a public one to help her followers along the spiritual path. But fate works in mysterious ways. One of the men behind the stage tosses a still lit cigarette into a pile of rags and cans, accidentally starting a fire. Sharon says the Holy Ghost is in the building, but so apparently is the destructive nature of existence. A man, who lost his hearing, begs for Sharon to help him. She prays, places her hands over his ears, and he regains his sense of hearing. The crowd shouts praise, and others with various afflictions head up the center aisle seeking a spiritual cure for physical ailments.

At that moment, the place bursts into flames. Sharon shouts that the tabernacle is a place of the Lord and those who believe in him will be saved. It is ironic that the place she built because of her love for God and which was to be a home for the faithful is destroyed. Gantry and others try to save some of those there, but the gathering is a mob now as the people panic. A man smacks Sharon’s Bible out of her hands most likely because he feels cheated by her words, and she is knocked to the ground. Gantry, pulling a woman out of the water near the pier, sees the tabernacle explode into an inferno, killing Sharon.

 

The next morning, in the rubble again, Lefferts hands Sharon’s bible to Gantry, which can be seen as a token of remembrance of their connection. Outside, people ask if Sister Sharon’s departed soul will forgive them for running out of the burning building. He says there is nothing to forgive since they did the right thing to escape. He starts to sing a hymn and Rachel picks up the tune. Morgan probably sees Sharon’s bible as the baton that Gantry should take to continue the evangelical marathon. But Gantry quotes St. Paul, saying that as an adult he must put off childish ways. He leaves, foregoing the selfish ways of a child clamoring for attention, and maybe his latest actions of charity have changed him from being a selfish man to becoming a true Christian.

 

Did Sharon actually cure the deaf man, or was it a temporary condition that psychosomatically was alleviated through his own healing abilities? Was the fire the result of demonic forces undermining the righteous? If so, why would God allow it to happen? Or was it just an ironic coincidence that the blaze occurred? The film raises all of these questions, and presents a complex world with many possible answers.

The next film is The Last Seduction.

Becket

SPOILER ALERT! The plot of the movie will be discussed.

The dire consequences that result when the affairs of the secular state clash with those of the religious establishment are the subject of this 1964 Oscar-nominated film based on the play by Jean Anouilh. It is a theme that dominates another work a few years later, A Man for All Seasons (See the post on that movie). In the latter motion picture, the clash is between King Henry VIII and Thomas More. Here, the conflict involves King Henry II and Thomas Becket. Sir (and Saint) Thomas More from the beginning of the film has his moral base, but Becket finds his spiritual compass as the story unfolds.

The film provides a historical context at the beginning by telling us that Henry is the great grandson of William the Conqueror who was the French Norman that defeated the Saxons at the Battle of Hastings in 1066. His barons and the Catholic clergy helped William oppress the Saxon peasants. But, Anouilh took great liberties with other facts in order to present his take on the historical events. The film opens with Henry (Peter O’Toole, Oscar-nominated) entering Canterbury Cathedral to do penance for the death of Becket (Richard Burton, also nominated for an Oscar), who in this story is a Saxon. We then get the back story, initiated by Henry’s nostalgic reminiscences of happier times with his close friend. It is significant that the King must temporarily relinquish his earthly rule by going to the church and undergoing physical punishment. He shows he is a man of the flesh, not of the spirit, when he says that the Saxon monks are about to whip his “delicate skin.” He says to Thomas’ sepulchral image that the weather almost always has been “cold,” as it was on their last meeting. This reference points to Henry’s preoccupation with the physical world, but also refers to the coldness that he feels Becket showed him despite Henry’s love for his friend.

The story then flashes back to what Henry considered warmer times. He and Becket would go out “wenching,” that is, satisfying their sexual appetites with women, and drinking. The emphasis here is on earthly delights. We get the sense that despite Henry’s proclaimed love for Becket, there is also envy of the man who Henry admits that even in matters of debauchery, Becket was “even better at that than I was.” When the two return to the castle following their carnal exploits, Henry complains of being cold after washing, again self-involved with is physical comfort. Becket is the one who uses a towel to dry him off and restore his warmth. But, Henry says to Becket that the Saxon might actually enjoy the cold, referring to Becket’s emotional state. Although the two have had heterosexual conquests, they pursue them together, and there is a definite homosexual subtext in the film in how Henry feels toward Becket, as this and other scenes show.

We learn from their conversations that Becket is Henry’s learned advisor. As the King says to the clergy and barons, “He’s read books, you know. He’ll checkmate the lot of you!” Henry says to his companion that he has been told not to trust Becket because he is a Saxon, and wonders why his barons hate it that Henry made Becket a nobleman. Becket responds by saying, “One hates what one wrongs.” We see here that Becket is not deluding himself. He does not view the Normans as benevolent invaders, and knows that they are exploitative rulers. How can there be equality when some of the people are not treated equally? But, Becket is a pragmatic collaborator, and Henry asks how does he reconcile collaboration with honor. Becket compartmentalizes, and says he doesn’t try to combine the two. He basically avoids the question about his honor, saying it is a private thing, and he collaborates “to live.”

They go to a meeting with the clergy, and it is here where the movie presents us with the overview of the main conflict. Henry needs money to fight his war with France, and wants to “executive order” away the past practice of excluding the Church from paying taxes. The Archbishop, (Felix Aylmer), says that the Church can’t service the soul and the military, too. But, Henry rightly points out that in the past the priests had no problem taking up arms when conquering the Saxons. He also wants priests who commit civil crimes to be tried in the realm’s courts, not in ecclesiastical ones. Henry emphasizes that there can only be one law in the land, and that is the King’s law. One can argue from our perspective that Henry’s point is correct, but it is also true that the King wants his singular power for domination to persevere.

At this meeting, Henry, always the politician looking for leverage, appoints what he considers his man, Becket, as Chancellor of England, the keeper of the Great Seal of the Realm, symbolized by the ring bearing the images of lions which Henry gives to Becket. The position entails being the King’s advisor, and among other duties, involves judicial and legal responsibilities. Henry says that Becket was always advising him, and now it will be official, and says to those present that Becket is “always thinking.” It may seem that Henry is rewarding Becket, but the King really wants him to owe Henry for the appointment; thus, the relationship in many ways is still one of conqueror and conquered. The Archbishop reminds Becket that he is a member of the Church, an archdeacon, and that his allegiance to the Church is slipping away. It is significant that the worldly Becket and Henry have forgotten Becket’s ties to the spiritual establishment. However, it is a foreshadowing of Becket’s eventual commitment to God. Becket then states where his current loyalties lie, when he says, “England is my mother now.” Toward the end of this meeting, Henry says his guards are approaching, as if to intimidate the clergy, but says they are only bringing his “snack.” He was hungry, and then says that he will pray after he has eaten. Once again, we see that Henry represents the desire for carnal satisfaction, which takes precedence over religious needs.

They go hunting after the meeting, and Henry and Becket wander away from the rest of the hunters. Henry, of course, complains of being cold. They go into the hut of a peasant. There is a young girl and her father, who are so fearful, they don’t speak. Henry’s disdain for them, referring to each as “it,” calling the man, “dog,” and referring to them as mutes, seems to bring out some of Becket’s decency toward his people. He offers to get water for Henry, in lieu of the peasant fetching it. The young girl’s brother attacks Becket outside in an effort to protect his sister. Becket allows him to escape, and says to Henry the wound he received in the confrontation was due to a horse bite. Becket can see that Henry wants the very young woman to satisfy his lust. Henry tries to rationalize his wanting the girl by saying he is doing her a favor by removing her from her poverty. Of course, he leaves out the part that he is selfishly exploiting her for his own purposes. Becket says for sustaining a wound in the act of getting his sovereign’s drink, his reward should be the peasant girl. Henry is bothered by this request, but concedes, as long as Becket realizes he owes Henry a favor, to which his friend agrees. Becket then tells the father that no one will come for his daughter. Thus, we see this compassionate latent part of Becket which is in conflict with his selfish “collaboration” with his conquerors.

Back at the castle, the debauchery and gluttony of Henry’s Norman noblemen are on display in a wine-soaked feast. Becket’s introduction of forks to inject civilized behavior backfires, as Henry predicted, when one of the barons uses it to stab another. Becket, although being Henry’s advisor, does not participate in this drunken behavior, standing aloof from the proceedings, showing him, after his helping the peasants, to not be at home in either the peasant or Norman worlds. He visits the woman who loves him, Gwendolen (Sian Phillips). Becket tells her that he is not able to accept the idea of being loved. Perhaps it is because of his guilt for betraying his people, and not having any honor or dignity involving right versus wrong behavior. A drunken Henry violates their space together. He begins to touch Gwendolen, telling her that he may appear as a brute, but that he is soft as a swan underneath, and then crudely belches, negating his statement. He tells Becket that he needs Gwendolen to smooth out his still rough edges, and asks Becket to repay his debt for the peasant girl by giving up his woman. In this sham of civility, he basically treats Gwendolen as he does all Saxons, as property that he owns. His asking for her is a sort of test. He says if Becket loves him, he’ll give up something he truly cares for. One can also argue that Henry wants to eliminate the woman that stands in the way of Henry’s love for Becket. But, Henry wonders if Becket really cares for anything, including him. Becket asks for a moment with Gwendolen, and Henry agrees because he is not a “savage.” Of course, despite his attempts to pretend otherwise, his lust for power shows his savagery.

In that moment together, Gwendolen asks Becket if when Henry is done with her, will he accept her if she returns to him. Becket’s cold nature, the one Henry accuses him of, shows itself as he says he will not take her back. He does understand himself, though, as he says where in most people there is honor, in him there is a void. This admission so devastates Gwendolen, that when Henry goes to her, he finds that she has stabbed herself to death, rather than accept him. Henry’s shallowness and selfishness is obvious as he cares nothing about Gwendolen, but runs to Becket for comfort after the suicide upsets him. With Becket, he acts like a child asking a parent to tell him that everything will be alright. He can’t stand the sight of blood, which brings into question his ability to lead his country in battle. He says he is lonely, and wants to sleep in Becket’s bed, like a little boy wanting parental protection, or perhaps, given Henry’s underlying homosexuality, wanting to replace Gwendolen in Becket’s bed. But, because what has happened to Gwendolen, Henry wonders out loud if Becket will harbor anger toward his king. They obviously have a love-hate relationship.

Becket says that he must improvise his honor day-to-day, which of course is a contradiction, since honor is a steadfast ethical standard. He says that as long as he wears the ring of the Chancellor, he will be Henry’s faithful servant. But, after Henry dozes off, Becket wonders what would happen if he really met his honor, and asks, “Where is Becket’s honor?” At this point, he is at least thinking about his morality, and is open to its possibilities, and possibly contemplating seeking it.

Becket continues to vacillate between being compassionate and acting in a Machiavellian way when he accompanies Henry to France to wage war. He tells Henry, “One must never drive one’s enemy to despair; it makes him strong. Gentleness is better politics. It saps virility. A good occupational force must never crush. It must corrupt.” In Henry’s tent, he has a naked woman under the sheets, as he is in his usual plundering mode. However, Henry tellingly kicks the girl out of his bed, to make room, as it were, for Becket, his true love, to discuss strategies. But Henry is a keen observer, and he says that instead of admiring morality, Becket appreciates “aesthetics.” That is, he cares more about the way things are done, not the purposes behind the actions. Henry insightfully comments that Becket would be just as formidable an enemy as an asset, which is a definite foreshadowing of their battle to come. But despite how cold Becket comes off in these scenes, he also prevents a Saxon monk by the name of Brother John (David Weston) from being punished after he attacks Becket, and sends him back to his abbot, thus repeating the action with the peasant girl’s brother. There are these hints that he is capable of showing mercy.

Henry receives word that his nemesis, the Archbishop of Canterbury, has died. Becket shows his softer side as he remembers that the man was the first Norman to show him kindness. But, Henry, always playing secular politics even at the moment of the death of a spiritual leader, has the inspired idea of naming Becket as the replacement. He says that because Becket is an archdeacon, he can be ordained a priest, and then become the archbishop. Much foreshadowing ensues. Becket warns Henry, “Don’t do this.” He admits that it “frightens” him. He realizes that living a pious life may make him prone to devotion, which will provide that honor which will fill that void inside of him, but which will put him in opposition to the King, who has been his benefactor. Henry feels that he has the upper hand here, and he won’t pass up the chance to use it. He tells Becket that “the die is cast. Make the most of it.” How ironic these words are, as he sets in motion exactly what Henry speculated on about what a formidable opponent Becket can be, since the future archbishop does make “the most” of his situation.

We next see Becket giving away his possessions. His clerical enemy, Folliot (Donald Wolfit), the Bishop of London, says it is good publicity. But Becket actually enjoys the process. He says it’s like being on a “holiday.” He addresses the crucifix hanging on the wall and says to Christ, “It all seems far too easy.” He never felt any affection for things, or people, for that matter. But, now he is on the path that feels right for him, an otherworldly one, that he feels destined to follow. The film then depicts the outwardly grand and elaborate ceremony, signifying a rich religious tradition, which elevates Becket into the position of Archbishop of Canterbury. Its solemnity also raises Becket’s inner being to the lofty meaningful purpose he has been avoiding his whole life. The religious vestments are meant for a holy person, and Becket is ready to play that part. In this case, the clothes definitely make the man.

Becket brings the monk, Brother John, who had attacked him, to Canterbury to be his assistant. John feels Becket has betrayed the Saxon people and now is doing the same to God. Becket tells John that maybe the monk can teach him “humility,” which the secular Becket never could master. John eavesdrops on Becket’s prayer to God, in which he says that he wants to know what it is to love, to adore, which he was not capable of on the human level. John realizes that the Archbishop is sincere, and that he is now ready to hear the voice of one who can help him remember his heritage. John says to Becket, as he embraces the Archbishop, “I didn’t know,” referring to the man’s actual devotion. Becket responds by saying, “Neither did I.” Becket surprises himself that his desire to be devoted to God is real.

In a scene with his wife, children, and mother, Henry shows his lack of caring for the traditional heterosexual family. He sees his next in line son to be a schemer, just waiting for his father’s demise so he can take the throne. He says to his wife, Queen Elanor of Aquitaine (Pamela Brown), “Your body, madam, was a desert that duty forced me to wander in alone.” Being “alone” frightens Henry, and is why he goes to Becket after Gwendolen’s death. The Queen hates Becket for taking Henry away from her to visit whores, but Henry says it was just the opposite. So, it is Henry who is the carnal corrupter, showing how Becket was never the one who sought fleshly pleasures, but just played along to please Henry. Henry’s lust for women is transient, but his love for Becket is enduring. As Henry waits for Becket to visit him, after the latter becomes Archbishop, like someone hoping to see his lover, the King’s mother (Martita Hunt) says, “You have an obsession with him that is unhealthy and unnatural.” She sees Henry’s homosexual leanings, and of course espouses the negative viewpoint of her time.

Becket sends Brother John to deliver a message to Henry about the apprehension of a priest, who “debauched” a girl, by Lord Gilbert, who subsequently killed the cleric while escaping. Becket wants Gilbert tried for murder, having killed the priest without a trial, and wants adherence to the trying of priests in ecclesiastical courts. Henry, outraged that Becket did not come to him, now goes to Canterbury. Of course, the first thing he does is complain about how he is “frozen stiff” from the ride, which again emphasizes his earthly needs, and symbolizes, again, the coldness he feels coming from the Becket, who he thought was his man. Becket says he must protect his “sheep,” since he now sees himself as God’s appointed shepherd on earth. Henry says to him that he was the one who appointed him to his post, and owes allegiance to the King. He says that when Becket attacks a nobleman, he attacks the King, and then he is attacking England. Becket says to Henry, “you have introduced me to deeper obligations,” those that are more profound than the ones governing the political world. (Visual details are meaningful, as we see Becket pulling the priestly sash he wears out of Henry’s presumptuous hands, as if it has been sullied by his secular touch). Becket says that he now has a higher honor to defend – the honor of God. Becket gives back the Chancellor’s ring, because it represents a conflict with his office as the Archbishop. Henry’s pain is palpable as he tells Becket, “I would have given away my life laughingly for you. Only I loved you and you didn’t love me.” So, the battle lines are drawn, those between church and state, conqueror and conquered, and friend and loving friend.

Henry, vowing that he will now learn to be alone, seeks out his former foe, Bishop Folliot, to bring down Becket. Henry tells the priest that he goes to him not to confess a sin, but something worse, a “mistake,” again showing Henry’s priority is matters of state, not faith, the opposite of his old friend, Becket. He says his friendship died a kind of “heart” failure, which indicates a feeling closer to love than just friendship. As they concoct a scheme to slander Becket by saying he embezzled funds as Chancellor, Henry relapses into anguish for plotting to hurt Becket. Folliot berates him for lack of resolve, saying, “You love him, don’t you? You still love him!” After Folliot spews insults about Becket, Henry tells him he has confided his hate, not his love, and that he will not tolerate verbal attacks against Becket, which shows how torn he is about his current actions.

After excommunicating Lord Gilbert, Becket flees England for the sanctuary of King Louis of France (John Gielgud), and eventually petitions Pope Alexander III (Paolo Stoppa). (Excommunication was a real punishment to the Catholic population, since it meant cutting a person off from spiritual redemption through receiving sacraments, and condemning a person to hell). Henry is afraid that Becket may get the Pope to place England under Papal Interdict, which means the whole area would be cut off from the Church’s sacraments. But instead, Becket asks the Pope to be relieved of his title to prevent a schism within England between the church and the state. The Pope however, wants the Church to prevail, and tells Becket that he will retain his post, but stay in monastic retreat in France.

At the monastery, Becket, while praying to God, feels life is too easy, too happy, in retreat. He says that he became Archbishop to defend his religion, and wants to return to England to continue the fight. (The poet T. S. Eliot, in his work Murder in the Cathedral, addresses the subject of whether Becket’s forcing Henry’s hand was an act of pride, or even suicide. Eliot resolves the problem by saying that when a person’s will coincides with that of God’s, there is a resolution of the dilemma). So, Becket persuades King Louis to have a meeting with Henry to bring about a reconciliation, for which Henry will be in debt to Louis. He tells Louis that Henry will never forgive Becket, though, for having preferred God to Henry. The two face each other on a beach, where Henry again complains of the cold. Becket had told Henry to protect himself against the cold by getting used to it, splashing himself with water before venturing out into chilly weather. Here it seems to symbolize not only their opposing sensibilities, but also the difference between Henry’s noble lineage and Becket’s peasant background. The King complains about his family, telling Becket never to marry (being a priest, Becket can’t), but it again shows Henry’s wish to keep Becket, even now, to himself. Becket agrees to several compromises so he can go back to England, but will not lift Lord Gilbert’s excommunication, and still insists on the Church’s right to hold ecclesiastical trials. Becket knows he will always be a thorn in Henry’s side, and accurately tells the King that he will never see him again, which horrifies Henry.

We find Henry with his barons, drinking, quenching their physical thirst. One of his noble subjects tells the King that Becket returned as a hero to the Saxons as they cheered him when he visited various villages. This news vexes Henry, but he also significantly grabs his heart, showing the pain of his lost love, and admits that so long as Becket lives, “I tremble, I shake.” He then asks, “Will no one rid me of this meddlesome priest?” The barons take this statement as an order to kill Becket. The Archbishop acknowledges to Brother John that the time of his death is close. He says, “It is here now, the supreme folly, this is its hour.” He even wonders if God is “laughing” at him. He sees himself as playing a part in an absurdist play written by God to make him the victim despite his dutiful service. But, he accepts his role as an archetypal sacrifice, as he says to the Deity, “I’m ready: adorned for Your festivities.” The barons murder him in the cathedral, when vespers are to occur, highlighting the contrast between the holy and the profane.

The movie ends where it began, with Henry in Canterbury Cathedral, now being severely whipped by Saxon monks as he accepts responsibility, if not guilt, for Becket’s death. (He warns his barons that they will basically have to make a sacrifice, too, for having brought about Becket’s demise). For Henry, it is all about politics, to appease the Saxon population, and the Church, but also to retain the Crown’s dominion. However, his submission for punishment, his stripping off of his kingly robes, and being humbled and humiliated, symbolizes a concession to the spiritual needs of the people, who live in an earthly kingdom. This action is at least a temporary reconciliation signified by the final shot, a panoramic, inclusive view of the Church, The King, and their subjects.

The next film is Heaven Can Wait.