The story takes place in 16th century England. But men like Sir Thomas More, who love life yet have the moral fiber to lay down their lives for their principles, are found in every century. Concentrating on the last seven years of English chancellor's life, the struggle between More and his King, Henry VIII, hinges on Henry's determination to break with Rome so he can divorce his current wife and wed again, and good Catholic More's inability to go along with such heresy. More resigns as chancellor, hoping to be able to live out his life as a private citizen. But Henry will settle for nothing less than that the much respected More give public approval to his headstrong course. Written by
Plot Synopsis:
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Thomas More (Paul Scofield) is at odds with Henry VIII (Robert shaw) over the king's wish to divorce his wife, Catherine of Aragon, so that he may marry Anne Boleyn. More understands that from the standpoint of the Roman Catholic church, the king would be heretical.
More, the appointed Lord Chancellor, is so highly regarded that his outspoken unwillingness to break with Rome makes Henry VIII look unreasonable and the king is furious. As the king's wrath grows, he tries to discredit More by attempts at legal trickery, but the attempts fail. More feels the heat being turned up and determines it best to resign his post to retire to private life. Unfortunately, because More's resignation speaks so loudly of the king's intended impropriety, the king will still settle for no less than More's approval of the divorce. More, however, refuses to relent.
Henry now has legislation passed that establishes himself as having supreme power in English religious affairs, breaking with Rome and, thereby, establishing the Church of England. He then has legislation passed establishing it as treasonous for any member of the king's court to refuse to sign off on it. More's refusal to sign off dooms him to be beheaded, but he will be remembered as a deeply principled "man for all seasons."
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tomreynolds2004 from Washington DC
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Paul Scofield's rendition of Sir Thomas More as written by Robert Bolt and directed by Fred Zinneman is the greatest lead dramatic performance EVER in cinematic history. He is that magnificent. He IS Sir Thomas More. We feel his hope, weariness, fire, virtue, protectiveness, morality, and bemusement as richly as he conveys each one frequently, one right after another. He was made for Bolt's dialogue, and Bolt's dialogue is drilled forever into our conscious by Scofield's flawless performance.
Everything else is also here. Leo McKern is brilliant as politically motivated prosecutor, Lord Cromwell. A bit subtler, but no less brilliant is Nigel Davenport as a man of some conscience, but not quite enough. John Hurt is unforgettable as ambitious young Rich led into temptation by Lord Cromwell. The incomparable Dame Wendy Hiller -- who passed just last year -- adds several more dimensions than her rather sparsely written role as Scofield's wife should have allowed for. Every minute she is on the screen is magnificent. Susannah York walks a tightrope between being scholarly reason and her passion for what is right. Robert Shaw as Henry VIII and Orson Wells as Cardinal Woolsey are larger than life and completely compelling during their all-too-brief virtuoso solos. The cinematography is lush. The soundtrack is historically accurate and perfectly positioned. Key sounds punctuate three pregnant pauses with explosive impact. The movie is technically as perfect as an historical epic can be. The film is simply exquisite.
All that being said, as I reflect momentarily in my head on closing this, it is Scofield's incomparable and breathtaking performance which still leaves me in complete awe.
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perfectbond
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A Man For All Seasons is an erudite examination of the old Biblical maxim: a man cannot serve two masters. Sir Thomas More (poignantly portrayed by Paul Scofield) struggles to be true to both his faith and his monarch (the lusty and hearty King Henry VIII superbly played by Robert Shaw). I think it is difficult for citizens in our present secular society to truly understand just how central a role religion played in a man's life during the period of the film; it was an age of faith when Christianity exerted the most powerful of influences on one's thinking. On a side note, the American Republic wisely sought a nation that "divided church and state." However, the fine distinction remains that it would be a state informed by faith but not run by the church. The aforementioned exemplary performances by the leads are backed by excellent supporting turns, especially from Orson Welles as the less than saintly Cardinal Wolsey and the eternally ebullient Susannah York as Sir Thomas's daughter Margaret. This is a true masterpiece that richly deserves all the accolades and plaudits it has received.
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Curtis Mark Stratmeyer (curtstrat@msn.com) from Bellevue, Washington
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It is a travesty that this film is not in the top 250. Something is very very wrong with rating system that says The Big Lebowski is a better film.
I can't add anything to what has already been said about A Man for All Seasons. Unquestionably one of the greatest films of all time, and stands the test of time. It will be revered as a great film 100 years from now. Will Lebowski? Doubt it. Winner of nearly every award it was nominated for. Best Picture, Best Director, Best Actor, Best Screenplay, etc. One of the few movies that makes my whole being vibrate when I watch it. I am moved to tears in almost every scene because the scene is executed so perfectly.
Please IMDb, this must give you pause. Any system that does not put this film in the top 100 borders on insanity or uselessness.
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Brixia from San Francisco
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This is one of my favorite films. It is of perfect length and pacing, and the script is one of the best ever written. The acting, direction, and design of this movie are uniformly excellent. The segue into Henry VIII's entrance is alone reason for seeing the movie. The production design is top-notch, both beautiful and--unlike many "costume dramas"--not so overwhelming as to lose the actors among outrageous sets and costumes. For an adaptation of a stage play, a remarkable proportion of the action taking place outdoors, with More's house at Chelsea being particularly lovely.
It's very easy to see this film superficially as a moral fable, and many people scoff at it as being a stagy morality play. But it's both more subtle and more vibrant that that. The subtlety of Robert Bolt's script lies in its exploration of identity. We're not meant to identify or admire More's religious ideas, which the movie actually tiptoes around. Instead it's what Bolt called More's "adamantine sense of his own self" that the movie really highlights.
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alynsrumbold from Flagstaff, AZ
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One of the greatest cinematic studies of the nature of personal integrity, I sometimes think that this film is in danger of being forgotten -- and it shouldn't be. One wonders at the degree of corruption in More's time that he should have been so highly regarded for his honesty -- and how he might have been regarded today.
What Robert Bolt and Fred Zinnemann had wrought is absolutely brought to glorious life by the incomparable characterization of Sir Thomas More by the chronically underrated Paul Scofield. Bringing superb support to the role are Nigel Davenport as More's close friend Norfolk, who is caught between the rock of his respect and concern for More and the hard place of his duty to (and fear of) Henry VIII; Leo McKern as the jovially sinister Thomas Cromwell, whose verbal jousts with More are virtual poetry from Bolt's pen; John Hurt as More's fair-weather friend Richard Rich; Dame Wendy Hiller as More's devoted but frustrated and misunderstanding wife; and the elegant Susannah York as his equally devoted and strong-minded daughter. Two stand-out performances in relatively small but vital roles: Orson Welles, magnetic as the shrewdly pragmatic Cardinal Wolsey; and Robert Shaw, whose energetic portrayal of a young Henry VIII (before his corpulent days!) dominates the screen the two times he's on it.
As with "The Lion in Winter," the remarkable scriptwriting is the driving force behind the story, but Scofield's dignified, restrained, but at the same time quietly forceful delivery are what give the writing its power. The great quotes of the film ("Why Richard, it profits a man nothing to give his soul for the entire world...but for Wales?" "When you are sent to heaven for doing your conscience, and I am sent to hell for not doing mine, will you come with me, for fellowship?" etc.) are conveyed with either enormous gravity or poignancy by nothing more than the tone of Scofield's voice.
I think that the dilemma at the heart of the tale and how men of power came to grips with it is artfully summed up in the dying words of Wolsey and, of course, More. Wolsey regrets he did not serve God as well as he served his king. More, on the other hand, dies as "His majesty's good servant...but God's first." Whether criticized or praised as a morality play, it's wonderful to at least HAVE an uncompromising morality play to watch from time to time -- especially one so well crafted.
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Bill Slocum (bill.slocum@gmail.com) from Greenwich, CT United States
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Fred Zinnemann's one of our great forgotten directors, amazing considering that he was nominated for eight directing Oscars in four decades, winning two. Today's critics and auteurs don't champion him; you won't read much about him in "Entertainment Weekly." For Zinnemann, the script was the thing, what he worked from, and his greatest genius may have been in choosing the right scripts and knowing how to do them justice.
"From Here To Eternity" may well be Zinnemann at his highest tide, though IMDb voters seem to prefer "High Noon." Then there's "A Man For All Seasons," the film of the year in 1966, though its hard to imagine a film that represents the ethos of the 1960s less. "A Man For All Seasons" presents us with an unfashionable character who refuses to surrender his conscience to the dictates of king and countrymen, resolute instead in his devotion to God and Roman Catholic Church.
"When statesmen lead their country without their conscience to guide them, it is short road to chaos," Thomas More tells his nominal boss, Cardinal Wolsey, when the latter unsuccessfully presses him to give his blind assent to King Henry VIII's request for a convenient divorce. Perhaps out of pique, Wolsey makes sure More inherits his office of Counselor of the Realm, where More's sterling convictions are really put to the test.
More is a marvel of subtleties, tensile steel covered in a velvet glove, a mild-mannered lion trying at every turn to do well even though his political savvy knows how dangerous that can be. As a lawyer, More knows the angles, yet he is no sharpie. He respects the law too much for that. Rather, he sees in law the only hope for man's goodness in a fallen world. "I'd give the Devil benefit of the law, for my own safety's sake," he explains.
Paul Scofield plays More in such a way as to make us not only admire him but identify with him, and come to value both his humanness and his spirituality. His tired eyes, the way he gently rebuffs would-be bribers around Hampton Court, his genuine professions of loyalty to Henry even as he disagrees with the matter of his divorce, all speak to one of those great gifts of movies, which is the ability to create a character so well-rounded and illuminating in his window on the human condition we find him more haunting company than the real people we meet in life. It's a gift the movies seldom actually deliver on, so when someone like Scofield makes it happen, it is a object of gratitude as much as admiration.
The script, adapted by Robert Bolt from his stage play, is very literate and careful to explain the facts of More's dilemma. It moves too slowly and opaquely at times to qualify "A Man For All Seasons" as a true classic, that and a supporting cast full of one-note performances, though some are quite good (a few, however, are notably flat.) I especially liked Robert Shaw as a young and thin Henry VIII, full of vigor yet also a childish temperament and inconsistent mind. He demands More not oppose his marriage to Anne Boleyn, then decides he must have either More's outright assent or else his head. There's no bargaining with such a man. Perhaps More was better off standing on his principals as he did than climbing into bed with homicidal Henry. Just ask Anne.
Zinnemann presents some interesting visual images in "A Man For All Seasons," letting the period detail inform the story without overwhelming it. Several times, such as during the opening credits, inside More's cell at the Tower of London, and during More's trial, the camera shoots through narrow openings surrounded by high stone walls, a reminder not only of More's own trapped situation but the human condition. Aspirations of divinity may be unfashionable, even dangerous to one's health, but they present mankind with its one hope for overcoming its base nature, the dead-end character of temporality. "A Man For All Seasons" is a rallying cry for just such an approach to life, and remains undeniably effective in its artful, artless way.
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bsinc from Ljubljana, Slovenia
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If on occasions I babbled about some actor's performance being the best I've ever seen it was just because I hadn't seen "A Man For All Seasons". Well, up until today. And I definitely won't be that quickly amazed and impressed by a performance again. May I just say that Paul Scofield embodies great acting to it's very core. Comprehending his masterful and skillful acting is evident even to the greatest fool or layman and I (not being a big expert myself) could not believe how a man can attain such knowledge of perfection. His every word is spoken with the greatest skill, intonation and accent as well as his facial expressions and movements. His performance is so strong it's scary when I think about it. As if he knew(and he most definitely did!) EXACTLY how to perform his acting task. This movie is an explosion of outstanding acting and actors, showing their skills to the fullest and to the amazed viewers. It may well be the greatest movie ever made, but the reason for this lies also in the jaw dropping and mind opening script that deserves more credit than it could have ever gotten. If you thought "On The Waterfront", "Bridge On The River Kwai", "Glennary Glen Ross" or even "The Usual Suspects" or "Pulp Fiction" had some great dialogs then this inspiring and simply amazing script will definitely change your mind. There are so many memorable lines, monologues and great battling dialogs I can't even give an approximate number. Every moment is meaningful and the movie is full of smart and important thoughts. I won't go into the story, because as a previous commenter said, there are just too many points of view and meanings to it, but I will say this; Sir Thomas More was too moral and too strong to give in to the Church, and because of his reasons he was respected. But because he was, for some, this stubborn, he paid the price which in the real world when you play with the big boys, is a given. A movie every future actor, actress, director and screen writer should and must see and a movie that makes most of the later Oscar winners for best picture look like a joke. And a final though, Leonard Maltin was absolutely right; if Paul Scofield acted only in this movie he'd still be remembered as a marvel worth every praise and respect. 9/10
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Andrew DiMonte (NoArrow) from My House, Canada
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`A Man For All Seasons', much like the film `Becket', is about a man standing up to his king, with tragic results. In this film the man is Sir Thomas More (Paul Scofield) a well-liked and well-respected lawyer and the king is Henry VIII (Robert Shaw). Henry VIII wants to divorce his wife and marry another, something illegal by the courts of England. But since he is the king and he is fond of executions, practically no one objects, except More, who refuses to believe that anyone is above the law, even his king.
It's not that More objects, rather that he doesn't go along with it. He never says he's against it because that way he could be charged with treason but he doesn't sign the new law passed in favor of the king. He could get away with this, of course, but Henry VIII stubbornly refuses to have any opposition, and the rest of the movie is spent on characters trying to persuade More to abide, for this reason or that. There is also a subplot about Richard Rich (a young John Hurt) and Thomas Cromwell (Leo McKern) plotting to frame More to quiet him.
That is what I got from the plot, at least. I could be wrong. It was hard to follow, this film, because of the fast fury of dialogue in each scene, never relenting for the audience to understand. This fast approach to the subject matter wasn't too tedious, but it did prompt me to rewind a few times to hear things over.
That, I am glad to say, is the movie's only flaw. Everything else is wonderful. The acting was great. Scofield creates a sense of pride, duty, confidence and principle with his character that gives him a high, strong presence whenever he's onscreen. His character is complex and in a way simple. Simple: he's refusing to relent not because he believes strongly on the issues of marriage and divorce, but because he believes strongly that no one, not even the king, is above the law. Complex: his strength and duty begins to become self-destructive when he is jailed, his family is made poor and unhappy and he loses respect from most around him, all the while still refusing to conform. An Oscar well deserved.
The rest of the cast rounds out nicely. We have Orson Welles in a small role as the gruff Cardinal Wolsey, Leo McKern using scorn as his technique as Cromwell, Hurt playing a sad role that goes from nice and likable to selfish and nasty, and much others. Ones that stood out for me were Robert Shaw and Wendy Hiller, both Oscar nominated. Shaw is loud, rude, stupid, and in some way likable as the king, it's not his best performance but it is an entertaining one. Hiller, playing More's wife, creates a character whose pride and strength diminishes when her husband is punished, revealing what we least expected: love.
Also, the film is beautifully shot. Its scenery is nice, but how the camera captures it is better. The set direction and costumes are also very impressive, making the film as much a wonder to look at, as it is to watch. And notice how as the movie progresses and More's situation becomes more and more hopeless the tones become muddier; there are more grays and browns than the reds and oranges from early on.
The film won the 1966 Academy Award for Best Picture. I liked `The Sand Pebbles' a little more, but it was still a deserved win in my book. A great picture, made better by Scofield's powerful performance, 8/10.
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pauglase from Oslo
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A Man for all Seasons is simply a fantastic film which I highly recommend to anyone who enjoys historical dramas. The film is directed by the late great Fred Zinnemann, who has helmed such diverse classics as From here to Eternity and Day of the Jackal, brings a sense of immediacy to the screen, and thereby transcends some of the screenplays stage like origins.
Paul Scofield plays the title role of Sir Thomas More. His dilemma being that he's forced against his will to acknowledge King Henry VIII divorce. The film's action therefore is confounded to a battle of wits between Sir Thomas Moore and his opponents at the Kings court.
That might not sound like much in terms of excitement in the classical sense, but this is offset by the brilliant acting of the entire cast and especially Paul Scofield, who received an Academy Award for his outstanding work, as Sir Thomas Moore and his main nemesis Thomas Cromwell, played by Leo McKern, exchange arguments and counterarguments in a bid for victory, where only one of them may come out the winner.
The sumptuous productions values must also be noted as they play a crucial part in the film's overall success. Both the cinematography and the music is some the best I've seen in a period-piece such as this one. As I've just said, a truly fantastic achievement by all involved parties. Go and see for yourselves!! You won't be disappointed! I'll guarantee You that!
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ddevin1 from Florida
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Beautifully written and scripted by Robert Bolt, beautifully acted by Paul Scofield and others, beautifully costumed to match the age and filmed in beautiful surroundings. This movie deserves all the accolades it received in the year it was made. But beyond that, it will last as one of filmdom's finest for the ethical and moral issues it raises.
We are raised as children to understand there are three things for which we should be prepared to sacrifice our lives: Family, Nation and Religious Belief. What we are NOT told is: When weighed against each other, which takes precedence? This movie examines precisely that issue.
King Henry VIII pleads with Thomas More to grant the annulment of his marriage because his wife is barren. If it is not granted, and there is no heir, Henry fears civil war upon his death with tens or hundreds of thousands of deaths. An appeal to patriotism.
When More refuses he is sentenced to death, but given a final opportunity to sign the annulment and be granted a remission. His wife (Catholic priests could marry at that time) visits him in prison and pleads that he sign, fearing that her life and the life of her daughter will also become forfeit upon More's death. An appeal to save the life of his family.
More's decision was to give his life for his religious convictions. One comes out of the movie with much to digest as to which of the 3 choices each of us would make in similar circumstances.
Truckloads of Styrofoam were ordered to simulate a snowy landscape. As soon as it was delivered, real snow began falling.
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Orson Welles used an exact duplicate of Cardinal Wolsey's official seal, as well as authentic sheepskin parchment and a quill pen.
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Vanessa Redgrave refused to be paid for her cameo role as Anne Boleyn.
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Robert Bolt borrowed the title from Robert Whittinton, a contemporary of Thomas More, who in 1520 wrote of him: "More is a man of an angel's wit and singular learning; I know not his fellow. For where is the man of that gentleness, lowliness and affability? And, as time requireth, a man of marvelous mirth and pastimes, and sometime of as sad gravity: a man for all seasons."
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Charlton Heston lobbied heavily for the role of Thomas More, but was never seriously considered by the producers as a candidate for the role. Heston would go on to play More in several stage productions of the play and ultimately film a television production of it in 1988.
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The trial and execution scenes are based very closely on an eyewitness account, published anonymously in the Paris Newsletter of August 4, 1535.
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According to Orson Welles, he had Fred Zinnemann removed from the set and directed his scenes himself.
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Richard Burton turned down the role of Sir Thomas More.
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Although it is never mentioned in the film, Lady Alice More was not Margaret More's mother. Before Alice Sir Thomas More was married to a woman named Jane Colt with whom he had four children. More remarried almost immediately with Alice, who was a widow herself. They did not have any children, but she raised Margaret as her own.
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The producers originally wanted Laurence Olivier as Thomas More and Alec Guinness as Wolsey, but director Fred Zinnemann insisted on Paul Scofield and Orson Welles in the roles.
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One of only 4 productions to win both the Best Play Tony (1962) and the Best Picture Oscar (1966). The other 3 are My Fair Lady (1964) (1957/1964), The Sound of Music (1965) (1960/1965) and Amadeus (1984) (1981/1984).
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Paul Scofield won the 1962 Tony Award (New York City) for Actor in a Drama for "A Man for All Seasons" and recreated his role in the filmed production.
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To keep the budget under $2 million, all the actors took salary cuts. The only actors to receive payments over £10,000 were Orson Welles, Paul Scofield and Susannah York.
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For his first major film role, John Hurt was paid £3,000.
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Five of the historical persons depicted in the film all had the first name Thomas: Sir Thomas More, Cardinal Thomas Wolsey, Thomas Cromwell, Archbishop Thomas Cranmer, and Duke Thomas Howard of Norfolk. Perhaps to avoid confusion, in the play and film, the only character referred to as Thomas is Thomas More.
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Paul Scofield and Leo McKern reprised the roles they played in the Broadway production of the play. During most of the play's 20-month run, the role of Margaret was played by a young Faye Dunaway.
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The original play opened at the ANTA Playhouse (New York) on November 21, 1961 and played for 637 performances starring Paul Scofield.
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Filmed over a period of 12 weeks.
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Richard Harris was considered for the part of Henry VIII.
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Vanessa Redgrave was originally lined up to play Margaret but she had theater commitments. Instead, she agreed to do an unpaid cameo as Anne Boleyn on the condition that it remain unbilled.
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Peter O'Toole was the first choice to play Henry VIII.
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Eira Heath considered turning her part down because it was so tiny.
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Robert Bolt offered the part of Norfolk to his friend, American actor-director John Huston. Huston turned it down.
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In the first London run of the play, Leo McKern played not Cromwell but the Common Man, a narrator-figure who addresses the audience and plays several characters in the story - More's servant Matthew, the man who rows him home, his jailer, etc. These characters also appear in the film, but are played by several actors. The original stage device of having them all played by the same actor was kept in A Man for All Seasons (1988). In the play, the lines stating what happened to the historical figures after the play's end are spoken by the 'Common Man'; in the film, they are spoken in voice-over at the end by Colin Blakely, who plays Matthew.
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Nigel Davenport was offered his role when John Huston turned it down.
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Dirk Bogarde was considered for the role of Sir Thomas More.
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Frank Finlay and Bill Travers were both offered the role of Thomas Moore. Finlay turned it down in favour of Paul Scofield and Travers bowed out to concentrate on Born Free (1966)
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Patrick Marley said he filmed his role in two days.
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Nicholas Grimshaw was offered a featured role but confusion over the offer meant he accepted a stage role instead.
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Named by Jack Valenti as his all-time favorite film in an AFI poll.
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Norman Scace was offered a featured role but was not free because the dates clashed with a play.
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Dilys Watling auditioned for a featured role.
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When Sir Thomas More enters the room to first answer charges before Secretary Cromwell, a chandelier with electric lights is visible in the background.
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When the King first visits More's house, we see a yellow Labrador Retriever running to the house. However, the dog with the specific physical characteristics that we associate Labradors with today (and that was shown), wasn't bred yet.
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At the end of the film, Thomas More picks the blossom of a tree called Aesculus hippocastanum L., a tree that appeared in Europe only in the 17th century and was introduced by the Turks.
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After Rich says "Sir Thomas--if only you knew how much, much rather I'd your help than his", you can see More's lips moving immediately in response but without sound.
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Wolsey says it is known that Catherine (of Aragon) was barren, or infertile. In fact by this point she had given birth several times, including to the future Mary Tudor, Queen of England, though there were no other surviving children.
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When King Henry visits Thomas More's house and steps off the boat, he steps into mud and makes light of it. When his retinue follow, it is seen their feet and leggings are already muddy from a previous take.
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In the opening scene, when Wolsey is sealing the letter to More with wax and his official seal, after he hands the letter to Cromwell and he folds it and pours the sealing wax, there is a string of wax that trails from the ladle and over the letter. Yet in the closeup when Wolsey is applying his official seal, that trail of wax is gone, and the letter is clear of any dripped wax. Also, it's obvious that the long shot and the closeup of Wolsey applying the seal are separate takes: the blob of wax in the long shot is smaller than that in the closeup, and the letter is folded differently (there's more of an overlap in the folded letter in the closeup).
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When Henry VIII's court enters Sir Thomas' yard, their feet are no longer muddy after the previous shot showed them getting muddy.
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During the trial of More, after the guards at the back of the room turn around to face the roused crowd (1:57:22), they are facing forward again when the Chief Justice speaks, and facing the rear immediately after, with no time in which to turn.
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Lord Chancellor Woolsey did not die in office; he was removed from the office of Lord Chancellor by Henry (because of his displeasure at Woolsey's failure to secure a divorce from Catherine), and died more than a year after Sir Thomas More became Lord Chancellor. Woolsey did, however, remain Archbishop of York.
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When Henry leaves More's estate, he twice indicates that it is eight o'clock. The shadows of most characters between his announcement and actual leaving are very short making it appear to be much closer to noon.
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AKAs Titles:
Belgium (Flemish title) - Een man voor de eeuwigheid
Bulgaria (Bulgarian title) - Човек на ’и‡ки в€емена
Brazil - O Homem Que No Vendeu Sua Alma
Canada (English title) - A Man for All Seasons
Canada (French title) - Un homme pour l' ternit
Denmark - Mand til alle tider
Spain - Un hombre para la eternidad
Finland - Kunnian mies
France - Un homme pour l' ternit
Greece (transliterated ISO-LATIN-1 title) - Enas anthropos gia oles tis epohes
Croatia - Œovjek za sva vremena
Hungary - Egy ember az rkk valsgnak
Israel (Hebrew title) - Adam Lehol Et
Italy - Un uomo per tutte le stagioni
Mexico - El hombre de dos reinos
Norway - En mann fremfor alt
Poland - Oto jest glowa zdrajcy
Portugal - Um Homem para a Eternidade
Romania - Un om pentru toate anotimpurile
Serbia - Œovek za sva vremena
Sweden - En man fr alla tider
Soviet Union (Russian title) (transliterated ISO-LATIN-1 title) - Chelovek na vse vremena
Soviet Union (Russian title) - Чeловек на ве в€емена
Turkey (Turkish title) - Her devrin adami
Venezuela - El hombre de dos reinos
West Germany - Ein Mann zu jeder Jahreszeit
Release Dates:
Certifications:
Argentina:13 / Australia:G / Brazil:Livre / Finland:K-12 / Iceland:L / Singapore:PG / Spain:13 / Sweden:11 / UK:U / UK:U (video rating) (1986) (1998) (2000) / USA:G / USA:TV-PG (TV rating) / USA:Approved (original rating) / West Germany:12 (nf)
Movie Details:
MOVIE
