By Matt Duncan
Coastal View News
Sometimes little details make a big difference, and simple plots make for complex stories. “The King’s Speech”, which is nominated for 12 Oscars (more than any other movie this year), is a perfect illustration. And regardless of whether the attention it is getting is wholly deserved, this movie is thoroughly charming, well executed and, at times, moving.
Albert (Colin Firth), Duke of York and second in line to the throne of England, has a stammering problem. He is a gifted statesman and lucid thinker, but when Albert opens his mouth, his voice fails him. Albert’s jaw tightens up, a harsh guttural noise issues from his throat, and only seldom are words actually produced.
Because he is a duke—the second son of King George V—Albert is required to make public appearances and, every so often, he is asked to give a speech. But despite constant urging from his father and continual help from the best speech pathologists Britain has to offer, Albert flounders in front of the microphone.
After having seen countless doctors and elocutionists, Albert is goaded by his wife, Elizabeth (Helena Bonham Carter), into seeing speech therapist, Lionel Logue (Geoffrey Rush). Lionel comes off as smart and witty, but his unorthodox methods do not initially meet with Albert’s satisfaction. Lionel asks Albert to perform various (often goofy) physical exercises, while also hinting that Albert’s problem is deeper than physical.
As they work and talk through a wide array of issues, Lionel and Albert become friends. Albert’s rehabilitation is slow and intermittent, but also encouraging. So long as he avoids too much pressure, Albert is able to give passable speeches here and there. Nonetheless, Albert’s feels fortunate that it is his older brother, David (Guy Pierce), and not him, who is set to be thrust into the limelight and onto the throne when their father dies.
Yet, whatever oratorical advantages David possesses are more than offset by his foolhardiness, indifference to the responsibilities that come with the crown, and ignorance of political and foreign affairs. When he is finally crowned King Edward VIII, David’s party guests and love interests capture his attention more often than does his exasperated brother or the impatient British government. As a consequence, Albert begins to realize that he may soon have to take over for his brother. He may be king after all.
With World War II looming, and with countless other domestic and foreign stresses confronting his nation, there is nothing that Albert fears more than the prospect of giving a speech. The mere thought of addressing his people as king seems to make his throat swell. But when he is finally crowned King George VI, Albert must, with the help of Lionel, find a way to rise to his greatest challenge.
“The King’s Speech” is slow and surprisingly simple. It does not contain many (if any) particularly emotional or triumphant moments. More tea is poured than arms drawn, and you are likely to see more special effects in a home video.
And yet, there is something remarkable about this movie. Somehow one man’s stammering is dramatic. Somehow, despite their strict adherence to stiff British etiquette, Albert and Lionel’s relationship is tender, complex, and even stirring. Somehow, “The King’s Speech” is more than the sum of its parts.
Colin Firth and Geoffrey Rush deserve most of the credit for the artistic success of this movie. Firth does a marvelous job of communicating how maddening a seemingly small problem can be, and Rush’s cool-headed performance exhibits a perfect balance of patience and wit. I don’t know if “The King’s Speech” is the best picture of the year, but it certainly includes some of the year’s best performances.
Sunday, January 30, 2011
Sunday, January 9, 2011
"Black Swan"
By Matt Duncan
Coastal View News
“Black Swan” is the story of an artist’s desperation for perfection. It depicts the tirelessness, obsession and madness that is required for her—and, indeed, for any artist—to be better than the rest. This movie is a thoroughly remarkable cinematic achievement, especially for its director and actors. “Black Swan” is one of the best movies of 2010 and a worthy start to the new year.
“Black Swan” is about a talented but aging ballet dancer named Nina Sayers (Natalie Portman). Nina is the hardest working and most technically proficient member of her company, but she struggles to land major roles because she has difficulty exhibiting the kind of carefree and passionate lust for dancing that wins over audiences. For Nina, dancing is not simply an artistic expression; it is her career, her obsession, her life.
In contrast, Lily (Mila Kunis), who is the newest member of the ballet company, is not as technically gifted a dancer as Nina, but when she dances, she lets loose—she shows the warmth and élan that is absent from Nina’s repertoire.
As the new season opens, “Swan Lake” is scheduled to be the ballet company’s first performance. In this ballet, the lead dancer must master two parts: the pure and elegant White Swan, and her evil twin, the Black Swan. Nina is perfect for the role of the White Swan, and Lily is well suited for the Black Swan. But one dancer must play both roles.
Desperate for the lead role, Nina takes her obsession for perfection to a new level. She practices constantly and strives to master the Black Swan, all while keeping an eye on her competition. Nina makes progress toward her goal, but at the cost of losing her grip on reality. As the opening of “Swan Lake” approaches, Nina must ward off a whole host of challenges, including Lily, her overprotective mother and her own inner demons. Nina’s desperation for mastering the Black Swan threatens to dissolve her mastery over the purity and innocence she once embodied.
“Black Swan” is hardly what one would expect from a movie about ballet. It is edgy and visceral; both gripping and psychotic. Although this movie seamlessly weaves the drama of “Swan Lake” into its plot and score, “Black Swan” is really a horror story. This movie shows that, while competition and obsession do breed drama, they can also give rise to gruesome horrors.
In nearly all of its facets, “Black Swan” is powerful and captivating. Director Darren Aronofsky (who also directed “The Wrestler”) has a special flare for drawing out the behind-the-scenes struggles of entertainers who are grasping for success. He has a talent for portraying the unique battles and insights that come with an obsessive need to please others. Although audiences (of either film or ballet) typically care only about whether the end product that they see is flawless and entertaining, Aronofsky gives his audience a sense of the cost of their (that is to say, our) demands. We see that perfection requires an extremely narrow focus, an obsession with detail, an ignorance of the value of a balanced life, and, indeed, a sort of insanity. Hard work is not the only price that one must pay in order to be great.
“Black Swan” is interesting, and it is extremely well-acted. Natalie Portman’s performance is Oscar-worthy, and both Mila Kunis and Vincent Cassel (who plays the director of “Swan Lake”) provide admirable support. The combination of great acting and Aronofsky’s thematic and cinematic achievements make “Black Swan” a very well rounded movie. It is captivating even when it is not altogether pleasing to watch. So while it is not for the faint of heart, “Black Swan” is, in my view, one of the best movies of 2010.
Coastal View News
“Black Swan” is the story of an artist’s desperation for perfection. It depicts the tirelessness, obsession and madness that is required for her—and, indeed, for any artist—to be better than the rest. This movie is a thoroughly remarkable cinematic achievement, especially for its director and actors. “Black Swan” is one of the best movies of 2010 and a worthy start to the new year.
“Black Swan” is about a talented but aging ballet dancer named Nina Sayers (Natalie Portman). Nina is the hardest working and most technically proficient member of her company, but she struggles to land major roles because she has difficulty exhibiting the kind of carefree and passionate lust for dancing that wins over audiences. For Nina, dancing is not simply an artistic expression; it is her career, her obsession, her life.
In contrast, Lily (Mila Kunis), who is the newest member of the ballet company, is not as technically gifted a dancer as Nina, but when she dances, she lets loose—she shows the warmth and élan that is absent from Nina’s repertoire.
As the new season opens, “Swan Lake” is scheduled to be the ballet company’s first performance. In this ballet, the lead dancer must master two parts: the pure and elegant White Swan, and her evil twin, the Black Swan. Nina is perfect for the role of the White Swan, and Lily is well suited for the Black Swan. But one dancer must play both roles.
Desperate for the lead role, Nina takes her obsession for perfection to a new level. She practices constantly and strives to master the Black Swan, all while keeping an eye on her competition. Nina makes progress toward her goal, but at the cost of losing her grip on reality. As the opening of “Swan Lake” approaches, Nina must ward off a whole host of challenges, including Lily, her overprotective mother and her own inner demons. Nina’s desperation for mastering the Black Swan threatens to dissolve her mastery over the purity and innocence she once embodied.
“Black Swan” is hardly what one would expect from a movie about ballet. It is edgy and visceral; both gripping and psychotic. Although this movie seamlessly weaves the drama of “Swan Lake” into its plot and score, “Black Swan” is really a horror story. This movie shows that, while competition and obsession do breed drama, they can also give rise to gruesome horrors.
In nearly all of its facets, “Black Swan” is powerful and captivating. Director Darren Aronofsky (who also directed “The Wrestler”) has a special flare for drawing out the behind-the-scenes struggles of entertainers who are grasping for success. He has a talent for portraying the unique battles and insights that come with an obsessive need to please others. Although audiences (of either film or ballet) typically care only about whether the end product that they see is flawless and entertaining, Aronofsky gives his audience a sense of the cost of their (that is to say, our) demands. We see that perfection requires an extremely narrow focus, an obsession with detail, an ignorance of the value of a balanced life, and, indeed, a sort of insanity. Hard work is not the only price that one must pay in order to be great.
“Black Swan” is interesting, and it is extremely well-acted. Natalie Portman’s performance is Oscar-worthy, and both Mila Kunis and Vincent Cassel (who plays the director of “Swan Lake”) provide admirable support. The combination of great acting and Aronofsky’s thematic and cinematic achievements make “Black Swan” a very well rounded movie. It is captivating even when it is not altogether pleasing to watch. So while it is not for the faint of heart, “Black Swan” is, in my view, one of the best movies of 2010.
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