The King's Speech

The King's Speech

4.5/5

Director: Tom Hooper

Starring: Colin Firth, Geoffrey Rush, Helena Bonham Carter

When one is King, one cannot afford to do a lot of things. For example it will be frowned upon if one is interested in marrying an American (shock horror), even more so if that American is a twice-divorced woman in a time of conservative, proper, posh ideals. So much so that one will have to abdicate one's throne if one wishes to choose love above all else. This is what happens to the eldest son of King George V (Michael Gambon), King Edward VIII (Guy Pearce, an Australian actor who puts on a remarkable posh English accent), who decides to follow his heart and leave the monarchy for good.

No heir from David means the crown needs to go on his brother's head, George (Colin Firth), or Bertie, as he's known to close members of his family. But this is not going to be a smooth transition either, for George has difficulties of his own; he stammers and is incapable of public speaking. Yet another thing one cannot afford to do when one wishes to be King. What is the root of all his problems? Some sort of childhood trauma? Doesn't seem to matter - after his embarrassing meltdown at giving a speech at Wembley Stadium, he is seen by a bunch of speech therapists with the objective of curing his condition as quickly as possible. What ensues is a hilarious "My Fair Lady"-like routine where Bertie is required to put seven marbles in his mouth to recite - apparently helping him to pronounce correctly. Also, he is advised to smoke - because it relaxes the lungs. Remember this was at a time when pedantic health and safety issues were virtually non-existent.

Bertie tries hard, but nothing seems to work - his wife Elizabeth (Helena Bonham Carter) supports her husband no matter what in the most dignified, sweet manner but she is also of course worried for the days ahead. But there is one last ray of hope - an Australian speech therapist Lionel Logue (Geoffrey Rush) with unorthodox and controversial (or "contraverseeal" as the posh wife likes to put it) teaching methods. Could it be that this eccentric, casual commoner is the answer to all of the King's problems?

Logue's methods aren't outrageously radical, just a tad different, and as luck would have it, hugely funny and entertaining. During the speech therapy sessions what develops is one of the best on-screen bromance pairs in recent years between the two unlikeliest people. A tongue-tied, nervous, upper-class King, and a rather blunt, confident, caring speech therapist. During his sessions, there is no such thing as class system. "My castle, my rules," says the Australian, much to the shock and dismay of the King. He also insists on calling him Bertie, something King George VI is quite reasonably rather uncomfortable with. Cursing ("Do you know the F-word?" asks Logue, "FORNICATION!" answers Bertie, in all seriousness), listening to music, body-loosening exercises, shouting the vowel sounds from the window are a part of his extensive methods, and amazingly progress is achieved. But the real challenge for the King comes when Adolf Hitler decides to invade Poland and declare war on the Allies of Europe. England needs to unite and they are looking for a strong and inspirational figurehead who will lead the people victory and triumph. Bertie has never had to address the entire nation before, and the pressure is starting to build. The role of the speech therapist becomes more crucial than ever, as Bertie begins to rely on Logue more and more.

It's a moving albeit predictable story of human triumph: the film's events have been carefully orchestrated to act as a long but engaging build-up to the speech that Bertie will inevitably have to deliver. When it counts, the film can easily convey the magnificent, stirring emotional impact and grandeur it was supposed to bring in the grand finale. It finishes as a feel-good film, but this is not only about the successful result of that important speech. Throughout it carefully carries on focusing on the fun and somewhat unnatural relationship between Firth and Rush. The smart screenplay that successfully turns a historical sequence of events into an appealing mix of drama and outstanding humour keeps things fresh and not at all difficult to fully enjoy and comprehend. The two actors are given enough room for themselves to exchange snappy dialogue from one another, losing none of the script's richness in the process. It's easy to see this as a clash between two very different worlds, and the playful mood between the two is impressively sustained.

Firth, a real candidate to pick up an Oscar this year, is given the entire film to show off and he takes advantage of every single moment. Firth's character is verbally incompetent - he probably doesn't speak a single smooth sentence in the entire film. Imagine having to convey a range of emotions without words - but Firth brilliantly captures every single close-up shot and rules the screen with his masterful portrayal. His face alone says it all - pain, years of suppression and living under his brother's shadow, sadness, intelligence, fear, and when Logue teases him and goes a step too far, which he quite often does, fury. Rush's character is also not overlooked here - a failed actor who makes a living by helping people speak with his self-assured methods and peculiar charm. And yes, Rush is delightfully odd, comically patronising, refreshingly honest but when it counts, a true loyal friend. The warmth the two actors share is touching stuff, even without the help of a big orchestral score.

Carter, who in supporting roles has the unmatchable skill of interacting with whoever she's paired up with, is once again quietly outstanding. No she doesn't play a lunatic here, but a very compassionate, warm-hearted queen who also has a killer sense of humour bringing a touch of lightness here and there in the robe-heavy, posh accent-ridden palace. Pearce is also a fine inclusion to the cast, having a lot of fun with his over-the-top performance (that includes a hilariously posh accent and a high-pitched voice) that borders on campy tone.

Ultimately it's a film that is more concerned about the performances of its actors and its period mood than content. It's similar to "The Queen." Helen Mirren's performances won rave reviews and virtually won her every single acting award in existence in America. The same or similar will probably happen to Firth, but the film itself won't be as glorified as its lead actor. It's a rousing, heart-warming period drama. Nothing groundbreaking, but the most skillfully executed one of its kind.