Regie:
Tom HooperScenario:
David SeidlerCamera:
Danny CohenMuziek:
Alexandre DesplatActeurs:
Colin Firth, Helena Bonham Carter, Derek Jacobi, Geoffrey Rush, Richard Dixon, Jennifer Ehle, Ramona Marquez, David Bamber, Michael Gambon, Guy Pearce (meer)Streaming (1)
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The King's Speech is het waargebeurde verhaal over Koning George VI, die om zijn stotterproblemen te overwinnen les kreeg van eigenzinnig logopedist Lionel Logue. Direct na het overlijden van zijn vader en het oneervolle aftreden van zijn broer Edward, wordt Bertie (Colin Firth), die al zijn hele leven een ernstig stotterprobleem heeft, gekroond tot Koning George VI van Engeland. Zijn land staat op dat moment aan de vooravond van een oorlog, en het volk vraagt wanhopig om een leider in deze bange tijden. Zijn vrouw Elizabeth (Helena Bonham Carter) besluit contact te zoeken met de excentrieke logopedist Lionel Logue (Geoffrey Rush) om George te helpen zijn spraak te verbeteren. Ondanks een wat moeilijke start lijkt Lionel's onorthodoxe methode zijn vruchten af te werpen: de Koning ontwikkelt niet alleen het vertrouwen in zijn stem om het volk toe te spreken, ook ontstaat er een onverwachte, maar hechte vriendschap tussen George en Lionel. (Paradiso Films)
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Recensie (12)
The Unbearable Lightness of Royal Being, or the first film that allowed me to understand the power and meaning of the monarchy. Tom Hooper may be accused of "academic coldness" by some sensitive folk, but in my opinion, he directs in an economical style that allows the actors' charisma to shine through, placing The King's Speech amongst the ranks of engagingly chatty films like Howard's Frost/Nixon or Fincher's The Social Network.
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It might start subtly and escalate very gradually, but The King's Speech deeply moved me, and when it comes to admiration for acting performances, it literally surpassed them. And just as the main character is a timid speaker and a future famous ruler, the movie is on one hand a sweet little film and on the other a spectacle that almost everyone can love and celebrate.
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A cultured speech therapy drama about the power of the voice and the imaginary status of a king. A wonderfully blissful play of static semi-details, mannerist textures and refined interiors, against which the chaotic wallpaper of Dr. Logue proudly stands out, who understands that the king is king above all when his subjects believe him. And in the 1930s, they can trust his voice above all. It's all a typical Rocky template about an outsider who climbed to the top, even though no one believed in him. Even with its sensitively stylizing representation of history, it is the equivalent of the excellent drama Frost/Nixon. An acting concert, from Colin Firth's stressed-out creation to Helen Bonham Carter's light-legged ballet. Maybe over-modified, but I like it... more than a handsome, gelled Fincher mop of hair.
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Very pleasant period piece. A series of speech therapy sessions is not an ideal premise for the silver screen, but they managed to turn it into a remarkable result. Colin Firth excels in the role of an uncertain stuttering king and his performance is undoubtedly Oscar-worthy, he feels very sincere and uncynical, unlike the rest of the film. The titular “king’s speech” at the end really got me. 9/10
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The King’s Speech is distinguished by its wonderful camerawork and set designs (the walk through a foggy park with conical trees is an aesthetic orgasm), brilliant actors, handicapped main character (with a heartbreaking crying scene), a loving wife, and when things come to the worst, a sudden sense of urgency brought on by Hitler's coming to power. The film has the pure soul of Rain Man placed in noble English setting in the style of Merchant-Ivory productions, or another certain way to get an Oscar, though this time it is truly kind and sincere. But let’s not be sentimental – Tom Hooper “only” perfectly utilized everything he had been taught at film school and what he learned both in Hollywood and England, and he did not bring any unique artist’s imprint into his work or push filmmaking forward. That’s why during the Academy Awards, I kept my fingers crossed for the more special, bolder and progressive artists Fincher and Aronofsky.
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