It’s difficult to know what one’s destiny is; or if there is such a thing. Colin Firth for example seemed set to play bumbling Brits in silly rom-coms for all time, until the perfect, acclaimed home for his restrained emotion emerged in the form of firstly, a suicidal homosexual in Tom Ford’s sublime A Single Man and now spluttering monarch King “Bertie” George in Tom Hooper’s very regal Oscar contender, The King’s Speech. Helena Bonham Carter’s fate seemed to be mad eccentric types, inspired by her vicious turns as villainess Bellatrix in the Harry Potter franchise, only to find herself alongside Firth as the Queen Mum before she was quite Queen or indeed, merely a mother.
You’d think that at least in the Royal family destinies are clear; smooth processions along a plush red carpet blood line. But in the 1930s a scandalous affair and subsequent abdication crisis in the prelude to war meant that the poor old anxious Duke of York found himself stepping up to the throne ahead of time. The youth and popularity of his wild brother meant that he probably never foresaw himself taking on the big job. He certainly didn’t want it. And yet Guy Pearce’s Edward feels he simply must step aside if it means he can fulfil his love (or lust) for his American sweetheart.
Despite the sideshows of better known history, which adds sparkle and meaning to events, the heart of this film is the untold story of a King’s personal problems and his struggles to overcome them. Firth’s Duke of York has been struggling with a stammer for most of his life and the film begins as he and his wife seek treatment from various esteemed medics. His father, King George V played by Michael Gambon, has already noticed the wayward ways of Pearce’s Edward and starts pinning his hopes on the stuttering Bertie for a viable successor. However in the new age of radio, voice is everything for a monarch. Eventually the excellent, perfectly spoken Bonham Carter finds Geoffrey Rush’s Lionel Logue for her husband and the film comes to life.
From their very first scene together, Rush and Firth captivate the audience. No matter what other merits The King’s Speech has as a film, you will always want the action to get the King and his speech therapist back in a room again, as no other scenes come close for simple enjoyment. That is not to say that the other actors don’t give wonderful performances; Bonham Carter, Pearce, Gambon and Spall are all spot-on. And there is drama and humour elsewhere. But the speech therapy is after all what the film is about despite all the other momentous events. It’s a very personal drama about the weight of expectation on one flawed individual, born and bred in a cotton ball world. The best of the humour from some magnificent lines in David Seidler’s script sparks rapidly in these intimate scenes too.
However I couldn’t help thinking at times during The King’s Speech that it simply wasn’t as funny for those of a younger generation. Sure it wasn’t the stuffy, serious costume drama I’d been expecting either. But the cinema was packed with the elderly and middle-aged who seemed to snigger at the slightest hint of cheek from Rush’s speech therapist, or the merest sniff of rage from Firth’s dignified Royal. Most of the humour in The King’s Speech is of this variety, with the silver haired audience exploding into laughter thinking “oh dear, imagine saying that to the Queen today”. I was inclined to look on the dialogue as clever and witty, rather than uproariously funny.
I did thoroughly enjoy The King’s Speech though. The period detail is predictably sumptuous and immersive. The script is not only lively and witty but gripping and concise. The cast are all superb. I disagree with the criticisms of some reviews that the film seems to conclude by saying the King’s personal triumph over his demons won Britain the war over Hitler. This movie simply isn’t telling that story. And the story it does tell is fresh, moving and engaging. It’s at its best when reduced to simple parts; a therapist, a patient and his troublesome speech. Firth proves once again he’s stepped up into serious Oscar worthy roles and breathes life into the British period drama. It’s worth seeing for some rare, theatre like scenes that give acting talent centre stage above all else.