The King’s Speech doesn’t only reinstate the enormous actor in Colin Firth; to take what he deserved in A Single Man , but finds a truly magnificent film that grows on you and fades when you watch it, just like a shadow.
There is an endearing scene almost nearing the first half of the film , where Lionel Logue (Geoffrey Rush) asks to-be-The King George VI about his childhood and who he was close to. Colin Firth simultaneously provokes empathy and sympathy which humanizes the whole British stoicism that embodies the royal highness. For a dangerous second or two, Firth loses it , you could actually notice him looking into the camera while he narrates about his uptight ,partial nanny. It was that second which makes us care about this royal poor highness. He stutters in his narration reliving his daily viewing when he was a kid; a kid who is/was made fun of ( “B-Bertie”) by his much preferred elder brother, the next heir; the kid who was pinched from behind by his first nanny. After a while Bertie gasps for words , its like as if he has been shut close every time he had tried to open his doors. Later Lionel asks him to sing it and there again you see a lesson for ad-libbing. Firth had rest his case a long time back.
What a huge profile , I must amaze at his stature . Firth is made by the film as the film is made by Firth. Initial scenes consists of the familial compassion Bertie finds in his charming wife (Queen Elizabeth) and his two beautiful daughters charms his days more than anything , but later circumstances propel his life in unknown directions.
To be safe ,casting Guy Pearce’s(King Edward VIII) buffy jaw was enough to differentiate him from the dear protagonist and later when he makes fun of Bertie, you cringe his presence on screen. Geoffrey Rush as Lionel Logue is at full command. For what most might think , it is not just a character driven two-hours. The film works well too; and so the nomination. Geoffrey Rush entertains you , listens with you and asks what you wanted to ask that very minute. He is the mediator , an on-screen representative of the virtual audience. The film starts with an elephant of a body that Firth initially belittles so beautifully , grows into a meditative retrospection nearing the half and stands upright as Firth dons his royal attire and is ready to make a man out of himself, by a supportive friend in Lionel and for a nation that dearly needs his voice at a junction where the gates of World War II were about to open (the constitution of the film-to,by,for).
Usually put, it is said that a character portrayed on screen is considered good if its worth the while, an entertaining face. It is great when he /she makes us(the audience) care and Tom Hooper churns the old, familiar and drama-rich British legacy to build a Herculean task among the audience to root for none other than the British Royal Highness. The load is shared throughout by a huge Colin Firth . I mean who says only films about poverty or “ordinary realistic” people can invoke ?
A voice brings a change. The King’s Speech has glorious intent .
#notjustanotherbuddyfilm like how Manohla puts it.