"The King's Speech"

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.