David O'ConnellThe King's Speech
December 21st 2010 05:41
Though it falls marginally short of greatness, Tom Hooper’s The King’s Speech is a model of elegant simplicity, the kind of quality drama to savour for the richness of its characterisations and superlative performances. Based on the true story behind the reluctant ascent of King George VI to the throne in the early 1930’s, the film focuses on his relationship with an eccentric ex-pat Australian speech therapist who, despite having no official credentials to his name, enabled the King to overcome his paralysing fear of speaking in public due to a severe stammer.
The Duke of York (Colin Firth), or 'Bertie' as he was affectionately known, is one of two sons of the dying King George V (Michael Gambon). Having lived with his unfortunate condition since he was a young boy he shuns public speaking engagements, though they are inevitable as part of his royal responsibilities. His wife Elizabeth (Helena Bonham Carter) has exhausted every possible means of finding someone with medical credentials capable of curing or at least improving her husband’s depressing condition to no avail. When she hears of the novel approach of a failed Australian actor whose greatest success has been in treating traumatised war veterans, she prays for, finally, a concrete solution.
The cantankerous Bertie is reluctant at first, jaded by so many failed enterprises, before complying for the sake of his wife. He’s initially irritated by Logue’s directness and methodology before informing Elizabeth of another failed medical encounter. In time however he returns to Logue’s dreary, modest den, the failing health of his father causing fear of increased duties in the name of the Family. His older brother David (a perhaps miscast Guy Pearce) assumes the Crown for a short term before abdicating, his past indiscretions and frowned-upon love for a twice divorced American leading to rumblings that can only unsettle the Empire’s ruling interests.
Though he fears it more than anything, Bertie realises his time has come. With the weight of a nation resting on his shoulders and another world war looming ever larger, can he overcome his stammer to offer guidance and fill his nation with the inspiration they expect of a King? And what part, if any, will the suspiciously regarded layman Logue play in his royal reinvention?
Accused of favouring a drably formal, unobtrusive visual style for the otherwise invigorating The Damned United (2009), Hooper manages to provide keen insights into Bertie’s depressing frustration at his own inability to conquer his demons. The film’s opening sequence is an especially effective starting point in communicating his apprehension as he begins a speech before a stadium filled with people. Thrust into Bertie’s shoes via a first-person perspective, the impression of weighty communal gazes settling on his timid frame is genuinely rattling, especially with his most fundamental means of communication impaired.
From there Hooper builds upon this intriguing first glimpse into the tortured mind of a forgotten royal and his obscured story, David Seidler’s skillfully constructed screenplay allowing the scenes between Bertie and Logue to become the heart and soul of the storytelling process.
Though entrenched in dour period authenticity, the film comes alive with the strength of its actors, especially Rush who gives one of the most endearing characterisations of his career. Logue is a gift for any actor and Rush plays his cards perfectly with a finely pitched portrayal, never allowing the man’s slight eccentricities to stray into parody. He and Firth are well-matched with the unlikely friendship forged between them relayed with conviction.
The King’s Speech (2010), culminating in the key address referred to in its title, is one of the classiest productions of the year. Neither Rush or Firth would be out of place standing at the dais with an award for their efforts. The technical credits are all worthy of notice too despite their subdued contributions; from Alexandre Desplat’s sparsely employed score to Danny Cohen’s mostly internal camerawork and Eve Stewart’s aesthetically pleasing production design with its subtle reflections of period London.
The King's Speech opens in Australian cinemas on December 26.
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Comment by Matt Shea
Comment by David O'Connell
20/20 Filmsight
Screen Fanatic
Hooper has made two very different but fantastic films in the past two years.
Comment by Tracy
Movies and Life
Yes, I also thought it was a fine film. You did a great write-up as always.
Tracy
Comment by Michelle Sweeney
Competition Queen
Comment by David O'Connell
20/20 Filmsight
Screen Fanatic
Always good to see a few quality films emerging late Michelle - before the likes of Yogi Bear 3D are unleashed in January!
Comment by Michelle Sweeney
Competition Queen
Comment by Mountain Fog
Infognito
Screen Trek
QUOTE ME NO QUOTES!
great review, I am about to do one on it myself, I saw it last Sunday, and it is brilliant, so good to see a film with substance, a great script and fine performances.
Very few films I've seen in the last few years have made me want to see them again, this is one of them.
cheers
fog
Comment by Mountain Fog
Infognito
Screen Trek
QUOTE ME NO QUOTES!
his name was King George VI (the sixth) not as you have it, the fourth (IV).
cheers
fog
Comment by Tracy
Movies and Life
Comment by David O'Connell
20/20 Filmsight
Screen Fanatic
Thanks for pulling me up on that too mate, Roman numerals never were my strong suit!
Yeah Trace, take a look at the trailer. It's truly diabolical stuff.