By Marc S. Sanders
A man can carry the title of Duke Of York, but that doesn’t make him a super man. After all, he is just a man like any other, and he can possess annoying hinderances like a stammer for example. However, when you are part of the Royal Family with a historical lineage of thousands and thousands of years, celebrated and honored in majestic paintings and medals, the inconvenience is never acceptable.
Colin Firth is Prince Albert George (and forgive me but he has assumed two or three other first names as his birthright that I can not recall. Phillip, as well I think). The King’s Speech opens when Albert has been tasked by his father, the King of England, to deliver a speech at Wembley Stadium. Director Tom Hooper never made a small staircase, a microphone or an audience appear so fearful. As Albert addresses the crowd, the words do not come out and the only one who can lovingly empathize with him is his devoted wife Elizabeth (Helana Bonham Carter). The archbishop (Derek Jacobi) puts his head down in disappointment along with all the other formally attired spectators. It’s a heartbreaking beginning of a story for a well-dressed crippled hero.
Following advisors and doctors who offer ridiculous remedies that allow no alleviation, Elizabeth finally finds an Australian speech therapist who just might be the best last resort for her husband. Albert is stubbornly reluctant to visit with Dr. Lionel Logue (Geoffrey Rush) who insists that their sessions occur in his office. Albert does not like that he will also not be addressed formally by Dr. Logue. Lionel will call him Bertie.
An unorthodox approach, at least for royalty, is what Lionel insists will aid Bertie. It is certainly better than his doctor’s recommendation of smoking cigarettes directly into his lungs. Bertie will lie and roll on the floor. He’ll hum and bellow unusual noises. He’ll have to loosen up his physique and even allow Elizabeth to sit on his belly to help him with breathing exercises while working his diaphragm. The art of swearing is especially helpful.
An interesting fact that Lionel shares with Bertie is that no infant is born with a stammer. It develops from another source. Perhaps it is abuse or neglect as a child. When you are a child of royalty you are not necessarily loved directly by your parents. A nanny is likely closer to you; maybe even more abusive.
The King (Michael Gambon) is respected by Bertie, but he is fearful of the future of his monarchy. The older son, David (Guy Pearce) is next in line to assume the throne, but he is an immature bedhopping playboy, and the threats of Hitler and Stalin are becoming more prominent. The King begins prepping his Albert by insisting he deliver radio addresses. The father is not the encouraging type, though. His disdainful demands are not the cure for Albert’s debilitation.
The King’s Speech advances a couple years during the 1930’s towards the precursors ahead of World War II. The King has died. David is behaving just as expected and Albert still suffers with his ability to speak, but Lionel has therapeutically made advances with his student and friend. He just can’t lose his student. Otherwise, Bertie will not overcome.
The film’s strength relies on a solid friendship that develops between a common civilian and a man of Royalty. Geoffrey Rush and Colin Firth work marvelously together. They are very different personalities with backgrounds that could not be more apart from each other. The chemistry is a beautiful duet of dialogue from an Oscar winning script from David Seidler. This was Seidler’s first script he ever wrote at the age of eighty.
The entirety of the picture has a set design from Eve Stuart and Judy Farr that is absolutely grand. Every room of the palace has the most beautiful furnishings and wallpaper designs. Tom Hooper uses wide distant lens’ that show the enormities of each room of the castle as well as Prince Albert’s home. Sometimes he shoots from the floor above, pointing his camera at Albert and Elizabeth. The majesty of royalty looks down upon the Prince and his speech impediment. It’s an absorbing setting for the film. Exterior shots also look authentic with the cars and the dreary coldness of the country and London cobblestones. I love the hardwood floors that the characters walk upon in the picture, particularly in Lionel’s office. The resonances of their dress shoes speak more clearly than the Prince. It all seems to echo the overwhelming conflict that our protagonist must overcome, and Colin Firth is terrific at demonstrating his frustrated insecurities. It’s an Oscar winning performance not only earned for the well-timed stammer but also the mournful facial expressions that are caught in close ups.
The triumphant moment at the end of the film occurs after Albert has succeeded the throne from his incapable brother. He is obligated to address his country in a world-famous speech that eventually brought a defiant England into the second world war to fight off Hitler’s undoubted tyranny. Tom Hooper’s camera follows a strong hearted, yet nervous Colin Firth walk from one room of the palace to the next until he finally reaches the small makeshift studio where his friend Lionel accompanies him to offer assurance as he speaks to his people and allies across the seas. I don’t simply see a coach or one who lends confidence. I see a friend working with another friend. Again, Geoffrey Rush and Colin Firth make a wonderful pair in a long line of cinematic mentors and their students.
As history has taught us, the King’s speech was simply the beginning of a very dark and bloody experience. The speech itself became a success, but the real challenge was yet to come. However, confidence is what allowed a generation to survive. The irony of The King’s Speech is that the hero a people needed lacked confidence in himself. By the end of this picture, he is sending his faith, his trust, and his own assurance over to his constituents, who needed it the most in spite of a hindering stammer. It’s a doubly blessed occasion that a lifelong friendship formed out of a troubling time.
2 UNPAID MOVIE CRITICS!!!! 