Directed by:
Tom HooperScreenplay:
David SeidlerCinematography:
Danny CohenComposer:
Alexandre DesplatCast:
Colin Firth, Helena Bonham Carter, Derek Jacobi, Geoffrey Rush, Richard Dixon, Jennifer Ehle, Ramona Marquez, David Bamber, Michael Gambon, Guy Pearce (more)Plots(1)
Award-winning drama from director Tom Hooper telling the story of the relationship formed between King George VI (Colin Firth, in a Golden Globe and Oscar-winning performance) and his speech therapist Lionel Logue (Geoffrey Rush). After reluctantly acceding to the throne when his older brother Edward VIII (Guy Pearce) abdicates, George, or Bertie to his family and friends, is forced to act when his stutter leads to concerns about his leadership. Help is soon at hand, however, when he employs unconventional speech therapist Lionel Logue, who, using previously untried techniques, begins to bring about improvements in George's speech. As the relationship between the two begins to strengthen, the King's new found confidence grows, just in time for him to lead his country through its gravest hour. (Entertainment One)
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Reviews (12)
Very pleasant period piece. A series of speech therapy sessions is not an ideal premise for the silver screen, but they managed to turn it into a remarkable result. Colin Firth excels in the role of an uncertain stuttering king and his performance is undoubtedly Oscar-worthy, he feels very sincere and uncynical, unlike the rest of the film. The titular “king’s speech” at the end really got me. 9/10
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A typically British, perfectionistic, and old-fashioned film, which, although it has a number of undeniable merits starting with excellent casting, appropriate performances, and conservative but flawless direction, somehow did not enthuse me and captivate me. It deals with aristocratic "better" people bound by strict social rules, etiquette, and responsibility, not for themselves, but for the reputation and status of their family. These people have sympathy for the plebeians down below and feel responsibility for them about as much as a medieval feudal lord felt responsibility for his subjects. By the way, they reduce people to one group and even though they talk a great deal about that group, they are extremely careful not to get themselves dirty with the people below and actually do not even know them. Overall impression: 80%.
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A cultured speech therapy drama about the power of the voice and the imaginary status of a king. A wonderfully blissful play of static semi-details, mannerist textures and refined interiors, against which the chaotic wallpaper of Dr. Logue proudly stands out, who understands that the king is king above all when his subjects believe him. And in the 1930s, they can trust his voice above all. It's all a typical Rocky template about an outsider who climbed to the top, even though no one believed in him. Even with its sensitively stylizing representation of history, it is the equivalent of the excellent drama Frost/Nixon. An acting concert, from Colin Firth's stressed-out creation to Helen Bonham Carter's light-legged ballet. Maybe over-modified, but I like it... more than a handsome, gelled Fincher mop of hair.
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A very enjoyable intimate drama about real issues against the backdrop of historical events. The cast is great, of course, but in a way too much so, because each of the main three characters is such a distinct actor that they overshadow their characters. The set design also has no major flaws, which is good, although that’s almost a given nowadays.
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It might start subtly and escalate very gradually, but The King's Speech deeply moved me, and when it comes to admiration for acting performances, it literally surpassed them. And just as the main character is a timid speaker and a future famous ruler, the movie is on one hand a sweet little film and on the other a spectacle that almost everyone can love and celebrate.
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