September 27, 2026

As biographical critiques of a film star go, this has to be one of the most honest I've ever seen. It operates within the scope of a broad-based chronology, but thereafter it follows different themes in the life of Richard Jenkins - the tenth of twelve children born to a Welsh mining family in the midst of the 1920s. His mother didn't survive for much longer so he was brought up by his elder sister before being adopted by his English tutor Philip… read the rest.

As biographical critiques of a film star go, this has to be one of the most honest I've ever seen. It operates within the scope of a broad-based chronology, but thereafter it follows different themes in the life of Richard Jenkins - the tenth of twelve children born to a Welsh mining family in the midst of the 1920s. His mother didn't survive for much longer so he was brought up by his elder sister before being adopted by his English tutor Philip Burton and thence heading to Oxford where he began to develop his more Thespian roots and then hit Hollywood via London's Old Vic. There are plenty of contemporaneous contributions from the likes of biographer Melvyn Bragg and fellow actorrrrs Robert Hardy and Sir John Gielgud, but the two that stand out more for me come from his daughter with first wife Sybil - Kate Burton, and from Lauren Bacall. From different perspectives, both bring insights into this flawed human being that are way more interesting and challenging than the usual adulatory stuff we are accustomed to hearing in films like this. Indeed, though respectful of his onscreen talents, Bacall barely disguises her disdain for the frequently booze-fuelled Burton and his daughter clearly loved her dad, but certainly doesn't recall her memories of him through rose-tinted glasses. His own interviews often show a man quite ill at ease with the whole process of talking about himself, let alone accepting any acclaim and the clips selected showcase some of his more powerful soliloquy's from his Shakespearian triumphs through to the visceral scenes with Elizabeth Taylor in "Who's Afraid of Virginia Woolf" (1966) in which we do have to wonder how much actual acting is going on - from either of them. Here is a man who lived his adult life very much in the public eye and at no time do we get much sense that this was something he courted nor for which he was especially well-equipped. He also comes across as a gent aware of the value of money. Not that he hoarded it, nor was he ungenerous to his family, but perhaps because he had none as a child some of his decisions were perhaps compromised by his need to earn and spend profligately. There's no narration as such, just a carefully crafted compendium of images of a man whose voice entered the room half an hour before he did; who appeared to enjoy dressing up, and who had a startling gravitas that rivalled Olivier but, in my view, didn't demonstrate any huge versatility. Watching a film like this where the excerpts come thick and fast, there is evidence of a Burton style but not so much of a Burton variety - and I thought that quite noticeable as his maniacal eyes, rubbing hand gestures and other mannerisms repeated themselves from Henry VIII to Alexander the Great to Mark Anthony. Charisma he had in spades, and this is a two hour tribute that does not bow the knee to the man, but that exposes him to an audience and leaves us to judge his greatness - or lack of it.

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