The King's Speech - A Classic by Royal Appointment

Albert, the Duke of York, played by Firth, is to become King George VI (though he does not know it) at the same time as England teeters on the brink of World War Two. However, as a royal spokesman he feels embarrassingly let down by a speech impediment, which is exacerbated when his duties require him to communicate publicly. His ever-vigilant wife (Bonham Carter) searches for doctors to remedy the situation until she happens upon an obscure therapist in the recesses of Putney. Lionel, or “Dr Logue” (Rush) as Albert formally insists on calling him, takes on this new patient and a friendship blossoms between the two. Though now and again unstable, it is one which lasts a lifetime. The side-narrative is of Albert’s brother Edward, who finds more appeal in his married mistress’s Japanese talents than in his responsibilities to the kingdom; a disinterest which eventually leads to his brother’s accession of the throne.

The stellar cast which comes together for The King’s Speech skilfully creates an engaging and exciting narrative, albeit of the quieter kind, due to the relatively small-grade action. The combined efforts of director Tom Hooper and writer David Seidler succeed in portraying a touching relationship between King and Commoner which promotes belief in friendships without boundaries, and the healing it can afford. It is true that people with public-speaking fears of their own, like myself, may not be able to quite relax until the end, because the atmosphere contains an element of uncertainty through the underlying tension. However, scenes of humour are unobtrusively gentle and memorable, allowing Bertie and the audience moments to breathe.

The blues and brown hues of the filming contribute to the darker tone, reflecting its anxious subject, whilst the music quietly insinuates itself at appropriate times; mostly when characters are not speaking, so the film resists superimposing emotion on the viewer, a rare and pleasing trait. The camera point is almost completely on ‘Bertie’ or, if not, is made to give the impression of relating his direct view. Subtle distortions are used at times to convey Albert’s sense of panic, which all in all gives a very sympathetic portrayal to the stiff-upper-lip protagonist. For those who enjoy psychological depth to their characters, this film certainly delivers without wallowing in the revelations when they unfold.

Colin Firth remains hesitant before being too pleased with the film’s press, worrying it has “already punched above its weight” and that viewers will find it somewhat of an anticlimax due to the surrounding hype. However, the mixture of true history with personal insight (along with memorable swearing experimentation you dearly wish you could try yourself) has set this film’s sights high, despite Firth’s modesty. His performance in The King’s Speech has admirably won him a Golden Globe for best actor, and the film as a whole has been nominated for fourteen BAFTAs. It continues to be caught up in the competitive ‘buzz’ and speculations over the upcoming Oscar Nominations marking the film and cast for the reward they deserve.

Phoebe Linton