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Mr Burton review – the teacher who inspired and encouraged screen legend Richard Burton

Mr Burton review – the teacher who inspired and encouraged screen legend Richard Burton

The Guardian02-04-2025
The career of Richard Burton seemed mythic at the time, and more so in retrospect. In Pedro Almodóvar's latest movie The Room Next Door, Julianne Moore's character is even shown reading Erotic Vagrancy, Roger Lewis's account of Burton's then-adulterous relationship with Elizabeth Taylor in the early 60s, the title taken from Pope John XXIII's extraordinary denunciation: 'You will finish in an erotic vagrancy, without end or without a safe port.' In fact, the nearest thing Burton ever had to a safe port was his inspirational English teacher Philip Burton in Port Talbot, south Wales, whose own frustrated dreams of the theatre were poured into the bright young miner's son Richard Jenkins, coaching him in acting and even making him his legal ward and getting him to change his surname to Burton to facilitate the teacher's sponsorship of his Oxford scholarship.
It's the subject of this heartfelt, vigorously acted, enjoyable, if slightly naive movie from screenwriters Tom Bullough and Josh Hyams, and director Marc Evans. Toby Jones stars as the spaniel-eyed Mr Burton and Harry Lawtey is Richard, a lanky, needy kid morphing into that insufferably haughty and sonorous prince of the English stage. It tells a uniquely painful and dysfunctional story, and does its best to show how Burton's pride always coexisted with shame and self-hate, and culminated with him playing Hal in Henry IV Part 2 at Stratford with Mr Burton in the audience, the pair effectively enacting their own version of the Hal/Falstaff betrayal scene.
The film also takes up the disputed claim that Richard's boozy and negligent dad only relinquished legal guardianship to Mr Burton in return for the teacher's cash payment of £50, the equivalent of £1,300 today. That may or may not be true, but it is certainly consistent with something deeply uncomfortable in the whole affair – this is no simple feelgood story. Even Billy Elliot's dad didn't actually give up his parental rights.
Lawtey makes for a livewire Richard, living with his sister Cis (Aimee-Ffion Edwards) and her glowering husband Elfed (Aneurin Barnard) because there's no room with his drunk dad Dic Jenkins (Steffan Rhodri) down the road. When he does well in Mr Burton's English class and at his drama club, he moves in to Mr Burton's house, where the film imagines a landlady called Ma Smith (Lesley Manville), perhaps to provide a chaperoning presence in the story. The drama here is absolutely clear that there was nothing predatory in the older man's intentions, despite an ugly homophobic jibe from Dic Jenkins once he'd got that fabled £50 in his hand. But certainly Richard himself is resentful and confused and there is an excruciatingly embarrassing encounter between the two in Mr Burton's bedroom with both in their pyjamas.
Does the film bowdlerise the teacher's complicated, hidden emotional life? Perhaps, yes. There is no evidence of abuse, but no one is under any illusions about what others were insinuating. Jones certainly shows Mr Burton's sad and dignified loneliness.
Mr Burton is in UK and Irish cinemas from 4 April.
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Get Liam Gallagher's festival look ahead of the Oasis Edinburgh reunion
Get Liam Gallagher's festival look ahead of the Oasis Edinburgh reunion

Daily Record

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  • Daily Record

Get Liam Gallagher's festival look ahead of the Oasis Edinburgh reunion

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  • Metro

Nostalgic film sequel breaks records on Netflix with 46,700,000 views

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Scotsman

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  • Scotsman

Henry Naylor on the dark 1980s inspirations behind his new play Monstering the Rocketman

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There was football hooliganism, race riots, IRA bombs, the Poll Tax revolts, lengthy dole queues and crippling, brutal strikes. It was a time of massive social upheaval, as Britain strove to define itself. Advertisement Hide Ad Advertisement Hide Ad I've been wanting to write a series of plays about the decade for a while, if nothing else, to contradict the demagogues selling us a romanticised view of the past. For research, I spent four months in the British library reading back issues of the tabloids, to revisit and understand the mindset of the 1980s. This was a golden era for the tabloids and The Sun was the backdrop of our lives. As the biggest selling daily newspaper in the English-speaking world, it sold nearly five million copies a day, with a readership of 12 million. It was seen on every train carriage, on every bus, and it was impossible to avoid its bold, provocative, sometimes hilarious, often offensive headlines. Reading those papers today is alarming. We often lambast the society of today for being intolerant but we've come a long way. Intolerance and hate speech were mainstream in the 1980s and racist terms were commonplace. The French were 'Frogs,' the Germans 'Krauts' and the Japanese 'Japs.' Black faces rarely appeared on the front pages and when they did, they were usually those of criminals. Monstering the Rocketman | Rosalind Furlong But the greatest invective was reserved for the gay community. When the Chief Constable of Greater Manchester, James Anderton, an evangelical Christian, spoke to a national conference about how the police should deal with AIDS, he said: 'Everywhere I go I see evidence of people swirling around in the cesspool of their own making. Why do homosexuals freely engage in sodomy and other obnoxious sexual practices knowing the dangers involved?' He was dismissed as a crank by the broadsheets. Not so by The Sun. In an editorial it declared, that it 'hopes Mr Anderton will treat these perverts with the contempt they deserve.' Coverage was relentless and overwhelmingly negative, with headlines that are shocking to modern eyes: 'Gays are Plague In Our Midst', 'MI6 Boss was Poof', etc. Furthermore, it seemed the tabloids thought it a moral duty to 'out' gay celebrities and portray them as sexual deviants. There was a particular fascination with celebrity/rent-boy stories. Russell Harty had his career destroyed in such a way, and Harvey Proctor too. Advertisement Hide Ad Advertisement Hide Ad And then came Elton John. You could almost smell the glee of Sun editor Kelvin MacKenzie when he was offered the 'confessions' of a male prostitute known as 'American Barry'. Mackenzie has admitted some stories were 'too good to check', and this was one of them. He published. Disastrously, he was to discover that 'Barry' was a liar. He was neither American, nor called 'Barry'. He was called 'Stephen' and worked in a dry-cleaners in Twyford, and had made the whole thing up. Elton was understandably incensed. He wasn't in Britain when the alleged orgies took place. He was in the States having a costume fitting, and he had the taxi receipts to prove it. As a member of The Sunday Times 100 Rich List, Elton had the money and the resources to fight. He also had the time, as he was taking a yearly sabbatical to rest his damaged vocal chords. But when Elton sued, Mackenzie refused to back down. Instead of admitting his mistake, he doubled down on the lie, and launched a massive campaign of media harassment against the star. Elton John performing at the Playhouse theatre in Edinburgh, June 1984 | TSPL An extraordinary tale ensued which forms the subject of my latest play, Monstering the Rocketman. It involves Ferraris, punch-ups, gangsters, bugged phone calls, a £10 million divorce suit, Princess Diana, the Vice Squad and a pair of 'devil dogs'. It resulted in Elton settling for a whopping £1 million damages, still the greatest libel payout in British history. Advertisement Hide Ad Advertisement Hide Ad In an era when the tabloids were all about making money, this was a salutary lesson. I believe it was a turning point in British history, for good and bad. On the positive side, I believe the Press had to become more sensitive to minorities, which paved the way for our more diverse and tolerant Britain. On the negative side was the damage to the reputation of the media. Elton's was one of a series of high-profile legal cases and payouts by the tabloids. In 1987-88 alone, the Queen was paid £100k by The Sun; Koo Stark sued The Mail on Sunday for £300k; Jeffrey Archer by The Star for £500k. By the end of the decade, the credibility of the print media was in shreds. In 1990 a survey concluded that only 14% of the British public had confidence in the British press. It's easy to criticise the tabloids. But we, the public, played our part. We were willing to pay for thrilling stories, regardless of whether they were true or not. How else to explain the phenomenon of the Sunday Sport, known for headlines like 'World War II Bomber Found on the Moon'. Its readers surely knew they were being lied to, but they didn't seem to mind just so long as the storylines were compelling. So who would blame the 1980s popular press editors for 'hyping up' and even 'making up' stories? That was what we, the public, seemed to be demanding. Advertisement Hide Ad Advertisement Hide Ad In a time of screaming TikTok influencers, vacuous OnlyFans narcissists and demagogues with orange faces, we need a strong, trustworthy source of truth. If nothing else, to dismiss the 'alternative facts' and 'firehose of falsehoods' corroding our democracy, and to stop us from retweeting the B.S. fed to us by bots. The Free Press is surely the answer. It needs to be powerful, have free rein, but above all be responsible. 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