FILM FORTNIGHT: The King’s Speech

Ah, Tom Hooper, whatever are we to do with you; a professional Oscar-bagger whose adherents’ vociferousness in their praise of his directorial skill is only matched by his critics slagging him off. This is not to say that he makes bad films (although I have seen one reviewer call Les Miserables the third worst film of 2012; a somewhat bold claim), but more a reflection of the fact that Hooper’s style of film making is pretty much what the Academy thinks is the cinematic equivalent of nirvana. This very… specific style has not endeared him to everyone, specifically those who think his films are all the more dull and predictable for it.

Where was I again? Oh yes; The King’s Speech, the most critically successful to date of Hooper’s films, bagging a Golden Globe, seven BAFTAs and four Oscars. For the four of you who never quite heard what the plot was about, our gaze is cast back to 1925 and onto the then Duke of York, Prince Albert (Colin Firth), second in line to the throne after his older brother David (Guy Pearce). Albert is among of the most interesting Royals in (relatively) recent history and was the father to our current Queen, but the part of his character we are most interested in now is his heavily pronounced stammer. This impediment is hardly conducive to him being comfortable in a heavily public role, and he tries multiple methods to cure himself; but this is the early 20th century, and we are yet to see the extraordinary advances in medical science that came along during the decades after the Second World War. As such, the treatments offered are somewhat Victorian in nature and don’t work, leading to increasing frustration from the Prince regarding the issue, to the point where he basically decides to give up. His wife Elizabeth (Helena Bonham Carter), however, is more determined, and puts him in touch with Lionel Logue (Geoffrey Rush), an Australian speech therapist with somewhat unconventional methods (and indeed mannerisms) for the time.

The changing relationship between Logue and the Prince is the central plot thread for the remainder of the film; one a rather bluntly-spoken commoner and the other who has spent his entire life being served in deference to with the complex rules of formality and tradition acting as his social bodyguard. That this is going to cause tension is obvious from the opening scene, and is indicative of one of the film’s most prominent flaws; the near-total lack of anticipation. This does not half to be a bad thing necessarily; many a good film has been so without any need to resort to tension or anticipation, but every scene of The King’s Speech can pretty much be calculated from the first five seconds, and sticking around to watch frequently doesn’t add anything to the central plotline.

It’s a shame really, because there are other aspects (and other scenes) that the film gets magnificently right, particularly those scenes that focus on the transitional state of the world at the time. This particular point in history was a turbulent one; times were changing, the new and old were trying (and in many cases failing) to coexist, and the establishment was frequently struggling to cope with all this newness. No establishment embodied this more than the royalty; these were the last days for nobility in all its pomp and finery, the days when it finally realised how much of its power had been stripped away and how it could not go on pretending to be a divine figure of authoritative power. As the film makes clear, monarchies had been falling across Europe, and others were to be reduced to puppets beneath new regimes, and while this theme is never explicitly mentioned or made a central part of the film, it subtly pervades all around it in a way that makes one feel genuine sympathy for the characters concerned. It is present in the way the prince treats the children and the stories he tells of how his father treated him, in the methods that work for him and the methods that don’t, even in the way characters address one another. All in all a wonderful piece of directing to work in there; I only wish it had taken centre stage more frequently. Perhaps then it wouldn’t perpetually feel as if it were 15 minutes away from finishing.

Mention must of course be made of the actors; Colin Firth took three ‘Best Actor’ prizes for his role as the king, and I found his portrayal incredibly interesting. Firth has always brought a particular brand of confidence, even cockiness, to the roles he plays and is frequently cast in controlling figures of power for this very reason; but here he is required to express both the power and authority of a monarch and the fragility of a patient. The film’s plot, and in particular Geoffrey Rush’s perfectly executed character of Logue, mean that these two opposing images must frequently share the limelight and come into conflict with one another, whilst all the while having to make themselves felt through the Prince’s stammer. This would be a mean task for even the most skilled of actors, and for someone such as Firth who I have never seen portray weakness in this way, it is a particularly interesting challenge. I wouldn’t say that he pulls it off perfectly, or that I find his performance massively compelling (he doesn’t quite manage to express how hard he’s trying, from my point of view), but it is nonetheless a good attempt at a very challenging role. This may have been somewhat hindered by the fact that, as usual, Bonham Carter manages to steal the show, once again showing her extraordinary versatility as an actress with a striking, and occasionally even funny, portrayal of the Duchess (a woman we would now refer to as the Queen Mother). That she and Rush only took home one ‘Supporting Actor/Actress’ role apiece is, to me, quite an eyebrow raiser, even if it was up against The Fighter. Some other performances, most notably Timothy Spall turning up as Winston Churchill for no readily explained reason, are less beneficial to the film and often feel as though they are taking screentime away from what’s important (there’s a fine line between ‘interesting cameo’ and ‘why the hell are they here?’), but thankfully they are not prevalent enough for this to be a massive problem.

To me, The King’s Speech is far from a perfect film; it is not terribly compelling all too frequently, large pieces of the plot seem to serve very little purpose, the script takes significant artistic liberties with historical fact (yes, I know that shouldn’t be important, but I’m too much of a nerd about these things), the plot is somewhat formulaic and predictable and it can’t quite seem to make up its mind over what it is, thematically speaking, about. However, it is executed so exquisitely that these flaws, in part, hardly matter; yes, they’re there, yes the film is imperfect, but that’s no reason not to sit back and enjoy the experience. Did The King’s Speech deserve two ‘Best Picture’ awards? Perhaps not. Is it a bad film? Not a chance. Perhaps not worth digging through to see, but certainly worth watching if you get the chance.

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