Written by David Seidler and directed by Tom Hooper, The King's Speech is a rich, pleasant, instantly absorbing drama of real life on Bromance morganatic between introverts stuttering King George VI and his exuberant Australian speech therapist Lionel Logue: a case arranged by clever woman George's in his pre-Queen Mum incarnations of the Duchess of York and Queen Elizabeth. These forms are made with pure theatrical panache by Colin Firth, as the monarch wretched victims, Geoffrey Rush as speech coach twinkly eyes and Helena Bonham Carter, the Queen, who must learn to love Logue overcoming its own snobbery - that she also never bother to hide shyness.
In addition, the film is an intriguing, if slightly loaded new perspective on the abdication crisis of 1936. Above all, this is a smart anti-Pygmalion. Shaw and Eliza Doolittle, the poor king as a young man is forced to talk with his mouth full of marbles, and more to the fate of Eliza to swallow.
But she had to meet and speak well, George VI (formerly the Duke of York, is still known as "Bertie") should move in opposite directions have to relax, be less formal, less strict, less clinical depression. The film deftly sheds new light on the trembling heart of the dysfunctional royal family of Britain, and suggests mischievously that there was a time when a British monarch experienced with psychoanalysis, disguised speech.
Pictures of Face Firth is the opening scene of misery in their own top hat, as if the presence of his funeral. And 'his first public appearance, they are required to speak through a microphone to large crowds at Empire Exhibition in Wembley Stadium and live on the radio to the Finnish people. His stuttering means that it can hardly get a word out, and the nation cringes with embarrassment. His father played a great Michael Gambon with England gruffest beard makes it clear to him that this is a new media age. It is not just a matter of looking frighteningly generous horse, a ruler must be able to control the radio microphone. Eyewear is not replaced by Dead Air.
It is there that Lionel Logue - a bull in Australia with local customs and bohemian spent on Harley Street. This is a failed actor who is everywhere as a colonial condescension, especially the toffee-nosed English types of theater that is still awaiting hearings. Seen in the trial by an amateur troupe of Richard III "winter of our discontent" soliloquy. (Could Hooper and Seidler studied the possibility that Logue "parrot" speech of Hotspur in Henry IV Part I - Shakespeare's character traditionally played as a stutterer too obvious) under, Seidler creates sharp exchanges that Logue barges safely through real pompous formality that is part of the problem, laughing merrily past medical advisers: "They're all idiots" have been knighted "Bertie crackles. "Officer can then, right?" Gradually, Bertie opened his new friend from his unhappy childhood and did not realize how his speech is improving.
The crisis comes when Logue gets too close to his patient, and Rush shows how the "red carpet fever" is to get the better of him: he even touch up some anti-colonial ambitions by rejecting mistress of Edward, Mrs. Simpson Spotlight The idea of 'Queen Wallis of Baltimore. "
Meanwhile, the abandonment means poor, stuttering, Bertie is the shoulder when the final weight "Mr. Hitler" is whipping up war stormclouds. The nation needs a king who can gather strength to play with a clear voice and enthusiastic. Bertie and Lionel are up to the task?
And the son of three, two huge towers of support: Guy Edward Pearce is a great, good, raw hateful mockery and stuttering Bertie, abandoned in Sandringham, aspires to phone sex with Ms. Simpson - this ickily he calls " do our own slumber Gambon has two great scenes as George V: first as the patriarch robust, barking orders to his cowering child, - the sudden drop is a modest movie success - no. and on the verge of dementia, muttering and Private to wander its directors make you give up his executive responsibilities.
Not everyone will like this film: some may be too realistic and rightly feel that skates a little more tact, the initial enthusiasm of Bertie and Elizabeth Neville Chamberlain and appeasement. In this version, Chamberlain offers almost anything - appears to go directly to the resignation of Stanley Baldwin to the sudden appearance of first lord of the Admiralty, Winston Churchill, throat-quiveringly, tendons stiffeningly, played by Timothy Spall - always give advice and, apparently allowed to carry a lighted cigarette in the presence of the sovereign. But the king's speech shows that there are cracks in the life of the old school of British period dramas - that is played and directed with such verve sweep, sending the light. George VI was talking cure grip