that "they say we generate more business activity than one of the smaller African nations" and that the couple "often outspent" the Greek business tycoon Aristotle Onassis. In 1964, Burton portrayed Thomas Becket, the Archbishop of Canterbury who was martyred by Henry II of England, in the film adaptation of Jean Anouilh's historical play Becket. Both Alpert and historian Alex von Tunzelmann noted Burton gave an effective, restrained performance, contrasting with co-actor and friend Peter O'Toole's manic portrayal of Henry. Burton asked the film's director, Peter Glenville, not to oust him from the project like he had done for Adventure Story before accepting the role of Becket. Writing for The Christian Science Monitor, Peter Rainer labelled Burton as "extraordinary". Kenneth Turan of the Los Angeles Times appreciated Burton's on-screen chemistry with O'Toole and thought his portrayal of Becket served as "a reminder of how fine an actor Burton was". The film received twelve Oscar nominations, including Best Actor for both Burton and O'Toole; they lost to Harrison for My Fair Lady (1964). Burton and O'Toole also received nominations for Best Actor – Motion Picture Drama at the 22nd Golden Globe Awards, with O'Toole emerging victorious. Burton's triumph at the box office continued with his next appearance as the defrocked clergyman Dr. T. Lawrence Shannon in Tennessee Williams' The Night of the Iguana (1964) directed by John Huston; the film was also critically well received. Alpert believed Burton's success was due to how well he varied his acting with the three female characters, each of whom he tries to seduce differently: Ava Gardner (the randy hotel owner), Sue Lyon (the nubile American tourist), and Deborah Kerr (the poor, repressed artist). The success of Becket and The Night of the Iguana led Time magazine to term him "the new Mr. Box Office". During the production of Becket, Burton went to watch Gielgud perform in the 1963 stage adaptation of Thornton Wilder's 1948 novel, The Ides of March. There he was confronted by Gielgud who asked what Burton planned to do as a part of the celebration of Shakespeare's quatercentenary. Burton told him he was approached by theatrical producer Alexander H. Cohen to do Hamlet in New York City. Burton had accepted Cohen's offer under the condition that Gielgud would direct it, which he conveyed to Gielgud. Gielgud agreed and soon production began in January 1964 after Burton had completed his work in