When in the process of adapting someone's life for cinema, there are many things to consider. Like, how to remain respectful of the individual in question, whilst also being able to tell an engaging story, or, condensing the major events of said person's life, so they could properly fit a two-hour running time.
Sadly, one of them never seems to be whether it would be even remotely interesting if the person were not famous. This problem plagues the bio-pic genre greatly, making a great deal of them unable to have any artistic or entertainment value.
However, once in a great while, a filmmaker will recognize the potential storytelling value of a person's life, and create a beautiful work. The King's Speech is one of these exceptions.
It is not so much an account of King George VI's nascent years on the throne as it is a chronicle of a man's struggle to overcome his life-long affliction, for his country, for his family, and for himself. Firth's performace as the titular character is truly spellbinding. He physically embodies his character wonderfully, you often forget that this is Mr. Darcy on screen.
The film also focuses the development of an unlikely friendship, between George, and Lionel Logue, his speech therapist. Logue is the perfect counterpoint to the King: humorous, affable, and agnostic. He is portrayed by Geoffrey Rush, whose inherently wry dispotion helps create a wonderful chemistry between the two actors.
Generally, a British period piece has a rather static aesthetic, preferring to rely on the momentum of its cast. Wisely, director Tom Hooper has avoided this approach, opting instead to rely largely on stylized close-ups, and an era-appropriate color palette.
A beautifully directed, and perfectly acted work, The King's Speech is not only an incredible true story, but a great one, as well.
Saturday, February 5, 2011
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