THE KING'S SPEECH
I have been awaiting the perfect movie to commence our maiden voyage together as critic and movie enthusiast, but since the quality of what Hollywood has put forth in the last few months has been mostly excrement, I had to wait until I stumbled upon the right entry that would allow me to start my column on a positive note. Fortunately, the movie I partook in last night was one of superior quality, inspired performances, masterful directing and a literate, but not too flowery, screenplay.
The film of which I refer is The King's Speech, the story of King George VI and his ascension to the throne of England after his elder brother Edward VIII abdicates in favor of his love for a divorced woman. As lusty as this premise suggests, the real meat of the story emerges when we realize that George VI has a stammering problem caused by insecurities and abuses suffered as a child. His unassuming wife Elizabeth, realizing that her husband will be called on to speak publicly and, foreseeing his need for speech therapy, engages Lionel Logue, a "professor" and "doctor" of sorts, to work with George. What ensues, it turns out, is a real life Pygmalion with the quirky instructor trying to break down the emotional walls of his student to get at the heart of his issues and help him see the great man he can be.
Colin Firth gives a nuanced, subtle performance as George VI (referred to by Logue as "Bertie"), offering a frustrated, heartbreaking interpretation of a man who does not feel he is destined for greatness, despite having "greatness thrust upon him." As his wife Elizabeth, Helena Bonham Carter gives a restrained turn of elegance and marked tenderness. After her scenery chewing contributions to Sweeney Todd and the Harry Potter films, it is nice to see her reel in the camp and go back to what she does best: deliver warmth, humor and especially a wry delivery of words. The real hero of this film, however, is the always sublime Geoffrey Rush, conveying a textured interpretation of Logue's regrets, confidences, and ultimately underscoring his complete admiration for the man he must help succeed and the love of the friendship that honor avails him. Logue is an eccentric, and in the hands of a lesser actor, he would be portrayed as self-absorbed, strident, blustering or pompous. Rush takes a quiet, matter-of-fact approach which keeps the focus squarely where it needs to be: on the delectable screenplay by David Seidler.Seidler does not coat the story with that stodgy, British dust that we have grown to expect from Merchant-Ivory Films and Masterpiece Theatre. The King's Speech has a vital, absorbing story that speaks to the insecurities in each of usand just happens to be written with intellect and appreciation for the savor found in words.
Director Tom Hooper must be credited for telling the story at a pace that actually builds beautifully, but never sprints through the feast of Seidler's dialogue. He is especially adept at capturing the uncomfortable moment's of George's stammering, engaging us to step inside this King's heart for a minute and feel it break with each pained and broken word. Mention should also be given to the terrific cast he has guided through supporting performances, with standouts being Timothy Spall as a hauntingly reincarnated Winston Churchill, Guy Pearce as a sexy and ultimately fragile Edward VIII and Michael Gambon as the tyrannical George V.
Colin Firth is almost certainly assured an Oscar for "Best Actor" for his work in The King's Speech, as is David Siedler's screenplay. Rush should win "Supporting Actor" but will lose to the odds on favorite Christain Bale for The Fighter. Go see The King's Speech. It is the most intelligent and human movie gracing the big screen this Oscar season.
I have been awaiting the perfect movie to commence our maiden voyage together as critic and movie enthusiast, but since the quality of what Hollywood has put forth in the last few months has been mostly excrement, I had to wait until I stumbled upon the right entry that would allow me to start my column on a positive note. Fortunately, the movie I partook in last night was one of superior quality, inspired performances, masterful directing and a literate, but not too flowery, screenplay.
The film of which I refer is The King's Speech, the story of King George VI and his ascension to the throne of England after his elder brother Edward VIII abdicates in favor of his love for a divorced woman. As lusty as this premise suggests, the real meat of the story emerges when we realize that George VI has a stammering problem caused by insecurities and abuses suffered as a child. His unassuming wife Elizabeth, realizing that her husband will be called on to speak publicly and, foreseeing his need for speech therapy, engages Lionel Logue, a "professor" and "doctor" of sorts, to work with George. What ensues, it turns out, is a real life Pygmalion with the quirky instructor trying to break down the emotional walls of his student to get at the heart of his issues and help him see the great man he can be.
Colin Firth gives a nuanced, subtle performance as George VI (referred to by Logue as "Bertie"), offering a frustrated, heartbreaking interpretation of a man who does not feel he is destined for greatness, despite having "greatness thrust upon him." As his wife Elizabeth, Helena Bonham Carter gives a restrained turn of elegance and marked tenderness. After her scenery chewing contributions to Sweeney Todd and the Harry Potter films, it is nice to see her reel in the camp and go back to what she does best: deliver warmth, humor and especially a wry delivery of words. The real hero of this film, however, is the always sublime Geoffrey Rush, conveying a textured interpretation of Logue's regrets, confidences, and ultimately underscoring his complete admiration for the man he must help succeed and the love of the friendship that honor avails him. Logue is an eccentric, and in the hands of a lesser actor, he would be portrayed as self-absorbed, strident, blustering or pompous. Rush takes a quiet, matter-of-fact approach which keeps the focus squarely where it needs to be: on the delectable screenplay by David Seidler.Seidler does not coat the story with that stodgy, British dust that we have grown to expect from Merchant-Ivory Films and Masterpiece Theatre. The King's Speech has a vital, absorbing story that speaks to the insecurities in each of usand just happens to be written with intellect and appreciation for the savor found in words.
Director Tom Hooper must be credited for telling the story at a pace that actually builds beautifully, but never sprints through the feast of Seidler's dialogue. He is especially adept at capturing the uncomfortable moment's of George's stammering, engaging us to step inside this King's heart for a minute and feel it break with each pained and broken word. Mention should also be given to the terrific cast he has guided through supporting performances, with standouts being Timothy Spall as a hauntingly reincarnated Winston Churchill, Guy Pearce as a sexy and ultimately fragile Edward VIII and Michael Gambon as the tyrannical George V.
Colin Firth is almost certainly assured an Oscar for "Best Actor" for his work in The King's Speech, as is David Siedler's screenplay. Rush should win "Supporting Actor" but will lose to the odds on favorite Christain Bale for The Fighter. Go see The King's Speech. It is the most intelligent and human movie gracing the big screen this Oscar season.
I wanted to see it before, but now I cannot wait!
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