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.
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There are a number of high profile British projects to look forward to in the coming months, with some of them already making waves at film festivals and generating Oscar gossip. Perhaps the biggest and most widely anticipated of the coming releases is unlikely to win masses of critical plaudits but shall delight and tease the expectant masses…
Harry Potter and the Deathly Hallows: Part 1
Release Date: 19th November 2010
Starring: Daniel Radcliffe, Emma Watson, Rupert Grint, Bill Nighy and endless others!
Director: David Yates
Synopsis: In the first of a two part adaptation of the final, seventh book in the Potter series, Harry embarks on a quest to destroy the Hoxcruxes that preserve Voldemort’s immortality, as the Dark Lord tightens his controlling grip on the magical world and the country as a whole. Familiar friends are menaced as Harry’s psychological connection to his nemesis helps him learn more about both the past and the destiny awaiting him.
Will it be any good?: Whilst David Yates clearly convinced the money men behind the movies that he had mastered the magical recipe with his previous Potter films Order of the Phoenix and Half Blood Prince, and a sizeable chunk of the critics too, I have always felt that his offerings were weak additions to the series and disappointments following Goblet of Fire and the inspired Prisoner of Azkaban, helmed by Alfonso Cuaron. To my mind Cuaron has been the only director to successfully inject exactly the right dose of the magical and fairytale, whilst also creating a gripping narrative that worked independently of the book. Goblet of Fire too was a solid entry to the series, but Yates has failed to up the level of threat and drama sufficiently as Voldemort emerged from exile, with set pieces such as the climactic battle between Dumbledore and Voldemort at the Ministry of Magic in Yate’s first Potter picture disappointing fans of the books. Ralph Fiennes has tried his best as the sinister wizard but we’ve now seen so much of him being frankly less than scary that his supposed all conquering power has lost its fearful mystique and he often appears on screen as a pale and camp vampiric skinhead, prancing around like a pantomime villain. The decision to split the final book into two films was perhaps inevitable given the irresistible revenue guaranteed by such a move and also the abundance of action in the novel. It will be interesting to see how artificial the cut off point for this first instalment feels and whether or not the best action will be reserved for the finale, leaving this feeling an empty affair, a mere prelude to the real deal. The quest nature of the story shall take the action away from the formulaic comfort of Hogwarts that was the foundation of both the books and movies successful appeal. Yates will have no excuse this time round for a lack of exciting set pieces and fans will take heart from a promising and exciting trailer. It really is time these films delivered something special that does both the original stories and talented cast justice, but it does seem that this entry may be simply an elaborate teaser before Part 2.
The King’s Speech
Release Date: 7th January 2011
Starring: Colin Firth, Geoffrey Rush, Helena Bonham-Carter, Timothy Spall
Director: Tom Hooper
Synopsis: Taking to the throne due to his brother’s abdication, King George VI is both reluctant and unfit to lead the British Empire at the dawn of a shifting new world order. Hampered by a terrible stammer he enlists the help of eccentric Aussie speech therapist Lionel Logue to improve his expression and find his true voice.
Will it be any good?: This film came away with the big prize at the Toronto Film Festival and has all the necessary ingredients for Oscar glory, including another mammoth performance from Colin Firth that looks certain to earn him a second consecutive best actor nomination, following last year’s for A Single Man. Indeed this is a film with an incredibly strong cast and one bound to be full of pitch perfect performances, with much praise already being heaped on Geoffrey Rush’s amusing and inspirational therapist, and Timothy Spall seeming a natural choice for Winston Churchill. Add in the lavish and meticulous period detail and the focused, character driven nature of the narrative at a time of enormous historical importance and this could have critics drooling and writhing in the aisles with pleasure. Of course even with the magnetism provided by awards buzz a film needs to be watchable to be a commercial success and the blend of humour and moving emotional drama promised here, set against a fascinating backdrop of national crisis and relevant media issues, looks set to ensure The King’s Speech is a hit with the ordinary cinemagoer and not simply a finely executed but essentially lifeless and dull costume drama. One to look forward to.
Never Let Me Go
Release Date: 21st January 2011
Starring: Carey Mulligan, Keira Knightley, Andrew Garfield
Director: Mark Romanek
Synopsis: An adaptation of the dystopian novel by Kazuo Ishiguro, Never Let Me Go tells the story of three children whose lives are interlocked by love and friendship at a seemingly harmless rural boarding school. However as they grow up they must learn to come to terms with their fate and their conflicting feelings for each other.
Will it be any good?: The trailer looks incredibly moving, beautifully shot, acted and scored, and it’s been chosen to open the London Film Festival but so far this film has divided critical opinion. It may simply be that expectations were disproportionately raised by a tantalising combination of Romanek’s directorial return, an acclaimed novel being adapted and three of the brightest young stars in British film taking the lead roles. Or the film may actually be a letdown that fails to transform something vital from the book, an essence of emotion impossible to replicate in a condensed screenplay tying together all the elements of a well crafted novel. Your enjoyment of the film is likely to rest on how well you know the book. Regardless of the success of the adaptation Carey Mulligan looks set to deliver another commanding performance that could be in line for recognition come Oscar time and Keira Knightley may enjoy a return to form, despite looking flat in comparison to Mulligan in the trailer. In one of a number of upcoming high profile roles, new Spiderman Andrew Garfield will also raise his status as a capable male lead with this picture and the performances of the stars alone ought to make this more than watchable.
Untitled Sherlock Holmes Sequel
Release Date: December 2011
Starring: Robert Downey Junior, Jude Law, Stephen Fry, Russell Crowe/Brad Pitt (rumoured)
Director: Guy Ritchie
Synopsis: Holmes returns after exposing the supernatural plots of Lord Blackwood, reportedly to do battle with the elusive Professor Moriarty in this anticipated sequel.
Will it be any good?: Stephen Fry seems the perfect casting choice as Sherlock’s lazier and more brilliant older brother Mycroft. Fry himself announced the news this week in a radio interview, confessing the role would be fantastic fun to play and his personality does seem perfectly suited to the light hearted tone of Ritchie’s first film for the Victorian sleuth, whilst simultaneously lamenting a lack of meatier roles for him to get his teeth into as an actor. Of course it’s too early to pass judgement on many other crucial aspects of this sequel. If it can retain the chemistry between Holmes and Watson and Hans Zimmer’s delightful, inventive soundtrack then it will have a strong foundation for success, only improved by the announcement of Fry joining the cast. A suitably adventurous and clever caper shall have to be devised to justify the return of Moriarty. Big names such as Crowe and Pitt being linked to the role alone will not ensure the film’s blockbuster success in a difficult Christmas release slot. And with the BBC’s own well received modern adaptation set to appear again before Ritchie’s second effort, will the public still have enough love left for Sherlock, particularly one still grounded in Victoriana?
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