‘Mr Burton’ review: Toby Jones stars in Richard Burton origins story

Dir: Marc Evans. UK. 2025. 124mins

The true story of the teacher who inspired and encouraged the metamorphosis of Welsh schoolboy Richard Jenkins into Hollywood acting legend Richard Burton follows the usual contours of such films — a heartwarming story of triumph against adversity, glossy production values and a rousing score. This familiar package from Welsh director Marc Evans (My Little Eye, Hunky Dory) does, however, have a couple of trump cards in the form of the ever-reliable Toby Jones and, particularly, Harry Lawtey (TV’s Industry), who turns in a strong performance as the lowly valley boy done good.

The dynamic between Jones and Lawtey is at the heart of this narrative

The dynamic between Jones, as kindly school teacher Philip Henry Burton, and Lawtey’s impressionable teenager Richie is at the heart of this narrative, and is compelling enough to interest even those who already know Burton’s intriguing backstory. Indeed, Burton fans are most likely to seek this out, particularly as the film’s release coincides with the centenary of the star’s birth. The pedigree of the film’s cast, which also includes Lesley Manville, should also attract mature audiences when the film opens in the UK and Ireland on April 4 through Icon. 

Screenwriter (and producer) Josh Hyams first had the idea for this story a decade ago and the screenplay, written in collaboration with Tom Bullough, has the feeling of something finely honed over time. It neatly and tidily hits all the expected beats of Burton’s journey from 1942, when he was a 17-year-old Port Talbot schoolboy, to 1951, as he prepared to take to the Stratford-Upon-Avon stage for a breakthrough performance as Prince Hal in Henry IV. That means inspirational speeches from Philip, moments of overcoming doubt from Richie and kindly advice from landlady Ma Smith (Manville), all backed by a stirring score from John Hardy performed by the BBC National Orchestra Of Wales — but not a great deal of organic dramatic energy.

There is more than enough spark, however, in Lawtey’s performance. It’s always a challenge to take on the mantel of such a beloved real-life figure — particularly one who was larger than life both on- and off-screen — but Lawtey takes care to capture the essence of Richie before he was Richard Burton; a vulnerability that carries through to the beginnings of his fame. As the son of an alcoholic miner, life in early 1940s Port Talbot, where Richie lives with his loving older sister Cis (Aimee Ffion-Edwards) and her less-understanding husband Elfed (Aneurin Barnard) has little colour; demonstrated in the (obviously) CGI backdrops of grey houses and smoke-belching refineries. And with war raging on the continent, it seems as if mining or conscription are the only viable options for boys of Richie’s age.

But when he discovers a love for Shakespeare and for acting, Richie comes alive — even if this ambition puts him at odds with traditional men like Elfed, who thinks he should get an honest job. Scenes of Richie practicing diction and projection atop a green hill, or running lines on the beach — all captured in vivid wide shots by DoP Stuart Biddlecomb – are full of colour and life. These are contrasted with claustrophobic scenes back in the tiny family home, or with his father (Steffan Rhodri) in the dowdy local pub, in which Richie’s hopes for his future butt up against his heritage. How can a low-class miner’s boy with a low-class miner’s surname ever hope to travel from the Welsh valleys to Oxford — where an RAF Cadet scholarship could beckon — or beyond, to the lofty hills of Hollywood?

The answer, of course, comes through Philip’s tireless mentorship — which the film is at pains to make clear was motivated by his love of the theatre and eye for talent, even if local gossip hinted at something more salacious. This involves helping Richie develop the treacly baritone voice for which he would come to be known. It also led to Philip becoming Richie’s legal guardian — Richie’s father happily signing his son away for the price of £50 — and bestowing him with his more socially acceptable last name of Burton. (In real life, Philip and Richie were too close in age for legal adoption, something which this casting does not reflect.)

And when the action jumps forwards several years, to the eve of Richie’s debut in Henry IV, we can see the impact of all this hard work. Lawtey effortlessly captures Burton’s silky diction, his swagger, his easy confidence as a performer, but also the bottled-up trauma of his childhood which he attempts to medicate with liquor and which threatens to undo him. While it’s questionable as to whether Richie ever managed to exorcise his demons, that he owes his remarkable career to Philip Burton has never been in doubt — something to which this film pays diligent tribute.