LFF: The King’s Speech – 5*

At any other time in recent years, a film about the Royal Family would only prick the interest of some at the UK box office. But with two royal weddings on the cards this year, there seems to be renewed domestic interest in our famous British family. Tom Hooper’s film, The King’s Speech, could not come at a better time. It’s not only a brilliantly written historical piece but also an utterly absorbing relationship study between a Royal and a commoner.

The credit for this cinematic tour de force goes to one of our finest actors, Colin Firth as speech-impaired King George VI (Queen Elizabeth II’s father), and an equally great Antipodean thespian, Geoffrey Rush as eccentric and unorthodox speech therapist Lionel George VI. There is an equally wonderful and immensely witty performance from Helena Bonham Carter, too, as the Queen Mother, Queen Elizabeth I, in her heyday.

All three actors are perfectly cast to illuminate the story and the King’s personal struggle with public speaking, after his brother, King Edward VIII (Guy Pearce) abdicates, with humour, frustration and respect. Firth and Rush are screen gold to behold, helped by Hooper’s close-up, and at times, almost claustrophobic camera shots that allow George VI to burst forth the anger at moments, with a string of expletives that will forever be remember by those who go to watch the film.

Hooper uses the camera and framing with meticulous detail to draw out every nuance and thought process from the characters, especially Firth who has the biggest challenge of conveying the inner turmoil of a man who could not verbally express what he wished. It’s almost like having an acting impediment for Firth. There is a beautifully shot scene at the beginning of the film, where the King visits a doctor in the hope of a cure. He sits in the forefront, with a concerned Queen Mother behind him framed by the light of a window. This appears to place the King in a ‘fake’ spotlight, putting him on show and highlighting his awkwardness further, all with very little dialogue present. These exquisite production values merely emphasise the quality of the film and its talent.

It’s also an enlightening film, not only about the Royals involved, but also about country on the brink of war with Hitler that would change European history forever. With George VI and Logue’s remarkable relationship that gets off to a bumpy start, but turns into an unlikely lifelong friendship, the film portrays how the class barriers are broken down in a time where solidarity was key with such uncertain times ahead. This is fascinatingly depicted when the Royal couple visit Logue’s menial working-class home, and appear as comfortable there, as any palatial setting they are used to.

The King’s Speech is a New Year’s shining gem in British cinema’s crown jewels, full of wit and decorum that the likes of Merchant Ivory is loved for around the world. With Oscar fever in the air, this should not be missed for Firth’s outstanding contribution alone, so believe the hype because it’s all justified.

5/5 stars

By L G-K