The King’s Speech – Film Review

Written for BA (Hons) Journalism Falmouth Navigator

Director: Tom Hooper
Starring: Colin Firth, Helena Bonham Carter, Geoffrey Rush, Guy Pearce, Michael Gambon

Scooping five honours at the British Independent Film Awards and a further seven nods at the Golden Globes along with a further twelve nominations at this year’s British BAFTA Awards, director Tom Hooper’s low-budget British Independent film The King’s Speech looks set for great honours in 2011, allowing cinema lovers to take a step back in time.

Set in 1925 English monarchy, Hooper’s latest outing sees British Golden Globe winner Colin Firth cast as Prince Albert, who of no choice of his own is made King of England when his brother Edward VIII (Guy Pearce) controversially abdicates marrying his long love mistress.

Impaired with a speech stammer, The King’s Speech follows Edward’s struggle to overcome an obstacle that has been with him since childhood. Seeking guidance from Australian speech therapist Lionel Logue, (Geoffrey Rush) Edwards wife, one day to be Queen Elizabeth I, (Helena Bonham Carter) pursues Edwards dream to speak to his people, and take full responsibility as King. Known for his unusual, and unprofessional methods a one on one relationship soon turns into an ongoing battle for freedom and confidence that would one day see King Edward rule over England for sixteen years.

Financed entirely by the British Film Council with the help of Momentum Distribution, The King’s Speech has opened to an accolade of reviews, snatching the 2010 Toronto International Film Festival People’s Choice Award during its début screening. Fairing well both in the UK and Ireland, as well as Australia, Hooper’s newest picture has scenes of British elegance.

Captivated in a montage of Royal excellence with a traditional take on England of the time, The King’s Speech works perfectly as a film with little else to offer than the on-screen stars themselves. Without the need of what many of today’s Hollywood blockbuster’s have to show. Hooper’s 2011 gem gives audiences not only an award-winning film, but a piece of British art that builds emotion and loyalty both on and off-screen.