Well made and enjoyable

Rating: 8/10 (25 November 2011)

As a rule, I have many reservations about films concerning Britain's Royal Family. Such films are rarely controversial and usually lean towards the royalist side of things (shocking, I know!). The King's Speech does not necessarily differ in this latter regard, but it does excel on many other levels. Notably, this is one of Colin Firth's finest performances to date as the stammer afflicted, reluctant royal. In light of the popularity Firth was accorded post Pride & Prejudice (BBC, 1995), this role is sure to confirm his place in the league of contemporary talented British actors.
The storyline focuses specifically on the King and his inner conflict, which makes for a clear and concise historical vehicle. This may sound slightly monotonous to some but the good- natured humour interspersed between scenes of raw tension and panic provides an equilibrium the film would otherwise lack. Performance-wise, everyone seems to have done their homework; Helena Bonham Carter appears to have mastered the mannerisms of the late Queen Mother (this is amusingly apparent in a scene where the Royals visit the King's speech therapist at home and Her Maj relays the proper terms of Royal address: 'mam' as in 'ham' not ma-am' as in 'pa-alm'). Similarly, Geoffrey Rush turns in a masterful performance as Lionel Logue, the Australian speech therapist who takes on the King's troubling affliction with profound empathy. Rush turns in a powerful performance overall, especially when a scene has a requisite for undermining the public obsession with royalty and the monarchy's, sometimes absurd, hold over the nation.
The cinematography is beautiful in parts and London itself, is portrayed strikingly well. The grime and everyday dust and filth that is so integral to London's history as an industrial city, is well captured. This is especially so when the Queen is driven down Harley Street in a taxi and gazes out at the commoners going about their daily grind as she watches from her safe, clean taxi cab. Throughout the film, Bonham Carter's performance reminds the viewer of the Royal Family's distance from the public and indeed, their distance form each other emotionally.
When Lionel Logue states that his clients must come to him, the Queen issues a reminder that he will become the enemy if he is unobliging to help her husband by their own terms, thus, ensuring that 'the help' know their place, just as the Royals must know theirs. Cold and detached to others, the Queen is strikingly different when with her King. Bonham Carter's performance is entirely redolent of the late Queen mother's wish for this film to have been made after her death, as the experience was too painful for her.
With regard to painful experiences for the monarchy, the inclusion of Wallis Simpson in the film, however brief, is certainly fulfilling fodder for history buffs. The abdication and controversy that followed it are mentioned with just enough detail to keep the viewer interested, and the story cleverly reflects the added struggle that the abdication results in for Bertie.
Like all films, there are flaws and as with all films, these flaws sometimes require a second viewing to be fully discovered. The only major flaw I have uncovered is that historically, while the film keeps to the truth overall, some purists will question the suggestion that Bertie's father, King George V was intent on having his children fear him. This is only briefly mentioned but as with all films dealing with historical fact, it may be a facet that is subjected to criticism.
The build up to the King's momentous broadcast concerning Hitler's intent to start a war with Britain and the Allies, is tense, despite the knowledge that good auld Bertie will inevitably make it through. In one particular scene, the King's daughter, future Queen Elizabeth II asks her father what Hitler is saying during a rousing political rally. Bertie replies with steadfast timing that he doesn't know what Hitler is saying but 'he seems to be saying it rather well'.
Rush and Firth work well together throughout the film but in the final scene both are outstanding. As the King is coaxed into making his speech flow, Logue provides witty improvisations for encouragement, resulting in Bertie being distracted from his stammer and focusing on how the words which, previously he couldn't say are becoming gradually easier and more accessible to him.
The most impressive feat about The King's Speech is that the film does not attempt to tamper with the fact that Logue did not concoct some miraculous cure for Bertie's stammer. Rather, it exemplifies nicely, the attempts of one man to look beyond himself and his family's expectations, in order for him to become his own person and subsequently, a better King. Humorous and well shot, The King's Speech will be up for many more viewings, and hopefully accolades.
All Rights Reserved © Copyright 2011 Michelle Lacey (Michelle Ní Láitheása).