MM Film Blog

Americans have long had a fascination with British royalty, and with films about British royalty. Thus there are high expectations for a film about King George VI (Albert Frederick Arthur George), father of Queen Elizabeth II. Add to that a phenomenal cast led by Colin Firth -- who many Americans consider to be British film royalty -- and the anticipation for The King's Speech is even greater. So it was a joy to watch this film and discover that it delivers on every level!

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On the surface, The King's Speech is about King George VI's struggle to overcome his stammering problem as he unexpectedly rises to power after the abdication of his brother, King Edward VIII, at a time when war is looming and when radio begins to play an important role on the world stage. On a deeper level, it is about an ordinary man thrown into an extraordinary situation, reaching deep inside himself to rise to the demands of his family and his country, and how he ultimately finds his voice. The beauty of Colin Firth's Golden Globe-winning performance is that he plays Albert with such humanity, that it enables us to see past the monarch to the man underneath. We can feel the pain that he is going through, yet there is humility, dignity, and grace. In a less capable actor's hands, the stammering could have been laughable or pitiable. In this case, it draws us into the character in a way that makes it easy to empathize with him.

The film opens in 1925, when Albert is still the Duke of York, 11 years before the death of King George V and the coronation of King Edward VIII. It gives glimpses into Albert's relationship with his demanding father (deftly played by Michael Gambon), who pushes him into public speaking and is impatient with his stammer. At a later point in the film, Albert's wife reveals that she took so long to agree to marry him because she did not want public life. However she finally relented because she thought with his stammer, they would be left alone. The film paints a beautiful portrait of a very loving family with 2 young girls who adore and are adored by their parents, who are all quite content to remain in the background. Thus when the family is thrust from the shadows into the limelight, their determination to assume the roles that are expected of them is all the more heartfelt.

At the heart of the film is the friendship that develops between Albert and his speech therapist, Lionel Logue, brilliantly portrayed by Geoffrey Rush. After having exhausted a long list of doctors and speech specialists, Albert consults Logue, whose off-putting unconventional methods and demeanor are what ultimately help Albert to begin to overcome his difficulties. Rush plays Lionel in a way that makes him extremely likable and lends credibility to an otherwise incredible character. The film derives much humor and a great deal of heart from the unlikely friendship that forms between these two men.

It is refreshing for a change to see Helena Bonham Carter in a more classical role, reminding us of her early career (A Room with A View, Lady Jane). After seeing her more recently in less conventional roles (Harry Potter, Alice in Wonderland), it feels like a breath of fresh air to see her play Elizabeth, wife of King George VI and mother of Queen Elizabeth II. And of course she handles the role with grace and style. And Jennifer Ehle does a nice job in a small but anchoring role as Lionel's wife, Myrtle Logue.

As we watch the film unfold, various things from our history lessons begin to click into place in our minds -- the abdication of King Edward VIII to marry twice-divorced American Wallis Simpson, the rise to power of Winston Churchill in World War II, and Elizabeth II later becoming Queen at a young age due to her father's untimely death.

Until now, it seems that most films have dealt with the abdication of King Edward VIII in a highly romanticized way, playing up the great love between the King and Mrs. Simpson. This film portrays him in a much less favorable light. It offers an interesting counterpoint -- the arrogant, irresponsible, self-centered brother who was groomed to be King, but who puts his own desires ahead of all else, vs. the shy brother who does not want to be King, yet who wants so desperately to do what is right for his country in their time of need, as World War II looms ever nearer.

Director Tom Hooper does a fine job bringing David Seidler's beautiful script to life, giving us an understated, touching, fascinating look into the private lives of these very public people. It is expository yet tasteful, larger than life while being intensely personal.

Much of the film takes places in Lionel's office, a rather shabby room with peeling paint on the walls -- not the kind of environment befitting a Duke, much less a King. Lionel also circumvents protocol by calling the Duke "Bertie", which is what he is called by his family. All of this offers a refreshing balance to the stiff and proper atmosphere at the palace. If the film is accurate, Lionel was actually ahead of his time, in that he wanted to get at the emotional root of a speech problem, instead of just trying to cure the symptoms. All of this adds to the unfolding drama in a very thought-provoking manner.

Even if these were not famous people from our recent past, this film gives us a beautiful story of honor, friendship, and personal triumph. The fact that it is based on true events involving people from our immediate past into the present, makes it all the more heartwarming.

Footnote - at the time of this writing, The King's Speech has received 12 Academy Award nominations, including nods for Firth, Rush, and Bonham Carter.

MM Rating: *****