Colin Firth and Helena Bonham Carter in "The King's Speech."
9/10 stars
The King’s Speech is a film filled with history, but does not center itself on the cataclysmic events that transpired on the world stage in Europe during the late 1930’s. At its core, the film is a full blown period piece, but it only uses such a structure to set the appropriate backdrop for an intriguing examination of a man perpetually altered by an all-consuming impediment. Such an impediment would be intrusive to anyone, but one can only imagine how demoralizing it would be to someone whose career hinges upon the necessity of unobstructed, evocative speech. Such is the case in The King’s Speech, a film skillfully directed by Tom Hooper and superbly realized by his performers. Colin Firth is King George VI, the tall, solemn son of King George V whose shortcomings and frustrations manifest themselves in periodic outbursts of rage. A great majority of this rage stems from a stammer so crippling that his family, friends and peers wince inwardly at the thought of him speaking publicly. This first comes to light in the opening scene of the film when George VI (then The Prince Albert, Duke of York) is approaching the microphone to give the opening remarks at the 1925 Empire Exhibition at Wimbley Stadium. Upon his entrance he becomes paralyzed with fear, stumbling and stammering over every word. This traumatizing event sets into motion The Prince’s personal desire to find a remedy for his ailment, most obviously due to the fact that his line of work requires the talents of a confident and poised orator.
The Duke and his wife, the eventual Queen Elizabeth (played with tact and quiet confidence by Helena Bonham Carter), set out to find a man with the magical cure-all. After several unsuccessful (and comical) sessions with various therapists, Elizabeth finds a doctor who is said to offer a guaranteed fix. Enter Lionel Logue (Geoffrey Rush), a doctor unorthodox in both approach and demeanor—at least to those immersed in the deep seeded tradition of the Monarchy. For instance, Lionel requests a first name basis during sessions. The Duke is at first taken aback by such a request—Lionel is a commoner and not a man of royalty. To be placed on an even keel with such a man is out of the question… at first. Eventually, The Duke acquiesces, thus establishing a friendship with Lionel that will become his key for far reaching successes beyond the righting of a speech impediment. The Duke (now Berty, as per request of a first name basis), has become the subject of Lionel’s therapy. He begins working on his client with various exercises, all of which offer humorous and revealing scenes that are perfectly paced, especially the one in which Berty finds solace in the uncharacteristically boisterous repetition of obscenities to ground himself. While progress is being made during his sessions, the landscape of Berty’s family life is changing rapidly.
Berty’s father, King George V, is dying. The heir to the throne is his younger, suave but less competent brother (played by Guy Pearce). Much to the disapproval of the family, he is hopelessly infatuated with the American socialite Wallis Simpson (Eve Best). After the untimely death of George V, Berty’s brother takes the throne at an immensely crucial period in British history. Hitler’s rise to power to the east has become solidified and absolute, and his territorial aggressions have turned to acquisitions. It is now certain that war looms on the doorstep of the British Empire. Once on the throne, Edward VIII prioritizes his infatuation over his duties. Realizing this, he resigns and replaces himself with brother Berty, the newly crowned King George VI. While momentous change is taking place in The Royal Palace, Berty’s relationship with Lionel becomes increasingly personal, if not crucial to the newly acquired status he now possesses. In several instances, he becomes falsely, unnecessarily egotistical. He cannot seem to comfortably embrace his relationship with a common man. In turn, Lionel continues his attempts at breaking down Berty’s personal barriers. He senses that his impediment, as well as most of his other shortcomings, stem from something deeply personal and exceptionally buried. And so it is.
The film culminates in an event inherent in its title, and it plays out beautifully. Now that war with Germany has become imminent, George VI must address the empire in an attempt to instill confidence and reassurance. In order to salvage his confidence, Lionel has created a makeshift safe place for Berty to speak from, far away from the thousands of anxious onlookers. Has Berty conquered his demons? One can only guess the outcome at this point, and that guess is most likely correct. How else could the film end? More importantly, though, The King’s Speech is an examination of friendship and how the power of its presence can alter lives forever. It’s not a film that concerns itself with history. Instead, it uses historical context to tell a personal, evocative and effective story. It is the establishment of friendship that guides Bertie to confidence, understanding and success. Lionel not only betters an ailment, he transforms the outlook of a man in an impactful, life altering manner.
The film is brilliantly cast and perfectly performed by Firth, Carter and Rush. Firth’s stammer is entirely convincing. He precisely stays within the bounds of Berty’s characteristics, effectively executing his highs and lows with an assuring amount of success. Carter is a great Queen Elizabeth. Her tact, wit and confidence shine beautifully in her performance. She’s a deeply devoted and enduring counterpart to her king. Geoffrey Rush is outstanding as Lionel. He views the world objectively; he sees through formality and other things that symbolically constitute greatness. He is a man who believes all men are just men, and nothing more. He is kind, caring and constantly seeks to aid others. This is the kind of man that Berty needed to help him reach his full potential. Director Tom Hooper is skillful at the helm. His use of dark tones and muted colors is very evocative of mood. During Berty’s counseling sessions, he uses negative space when regarding his face in close up, as if to portray his uneasiness. In one of the final shots of the film, during the final climactic sequence, Berty’s face is shot in perfect symmetry, conveying a culminating act of confidence and final resolution. The King’s Speech is a humorous, touching and a very well made film. 9/10 stars.
