Tuesday, August 30, 2011

The King's Speech

Slowly making my way down the Netflix queue, the arrow finally pointed to the 2011 Best Picture, the King's Speech.

Since my tastes run towards car chases and space aliens that look great in spandex, I shoved the DVD into the player with very low expectations. This was going to be another British literary movie (Sense and Sensibility, Remains of the Day) that the cognoscenti said that I should see for my own good when my time would probably be better spent by washing the car or working on next year's taxes.

Surprise! I enjoyed the movie. Best Actor winner Colin Firth gave a convincing, sympathetic performance as the prince who wanted to hide from the world because of his severe stutter but reluctantly ascended to the throne when his older brother put personal desire before responsibility. Geoffrey Rush as failed-actor-cum-speech-therapist Lionel Logue fights not only the king's disability but multiple social barriers. We root for him to succeed where credentialed doctors and teachers failed.

The rest of the ensemble cast is a who's-who of contemporary British film. The only bit of casting that seemed a little jarring: whenever I saw Timothy Spall, who plays Churchill, the great man of the 20th century, I couldn't help but glimpse Wormtail, the rat-like villain of the Harry Potter movies.


















The movie immerses us in the constitutional crisis triggered by Edward VIII's affair with American twice-divorcee Wallis Simpson. American eyes may view Edward's abdication as the apotheosis of romance--a man giving up the throne to marry his love--but most Britons saw it as the epitome of selfishness, a man shirking his duty in the face of the gathering storm over Europe. Both Edward and Mrs. Simpson are portrayed as petty, self-absorbed creatures preoccupied with the privileges of royalty but not its responsibilities. It is, after all, a British film.

Final thoughts: 1) "critically acclaimed" movies need not be boring; 2) the film's fastidious attention to period costumes and sets was crucial because today's audiences can readily detect inauthenticity; 3) too bad they couldn't work in a car chase over the London cobblestones--now that would have been something to see.

No comments: