Oscar Countdown, Day 10: The King's Speech

Counting down the hours until Hollywood's most golden of awards galas? So are we! Semi-obsessively. Join us at noon for the next ten too-long days as we mentally prep our Oscar pool ballots and give each of this year's Best Picture nominees a once over and half.

Photo: allmoviephoto.com

THE KING'S SPEECH

THE RUNDOWN: Flashback to 1930s Britain. George VI (Colin Firth) is prepping to take his father's (Dumbledore, er Michael Gambon) place on the throne. Although he has got the passion and know-how to be king, two very big things are holding him back: his technically-next-in-line-but-not-politically-motivated brother, Edward (Guy Pearce) and his speech impediment. Yes, his speech impediment. You see, George had had a stammer, which prevents him from forming full, traditionally-flowy sentences in front of even his closest friends and family, including his wife and soon-to-queen, Elizabeth I (Helena Bonham Carter), for as long as he can remember. So naturally, everytime he tries to speak to Brit public, he comes across as the opposite of a leader: unconfident and unsure of himself and his words. In an effort to change all that and help her hubby guide his nation through an oncoming storm - Britain's entry in WWII—Elizabeth takes George to a speech therapist named Lionel Logue (Geoffrey Rush). The rest is a truly inspiring retelling of a true tale of bromance and confidence-building.

WHY IT'S GOLDEN: This film has been praised (and nominated) countless times, but the buzz has been mostly about the heart-warming story and Colin Firth’s performance as George VI. If you ask me, those aren’t even the strongest points of the film. What makes this film more than a droning, stuffy historical drama is its unexpected quirkiness. While most are anxious about the film’s best pic and best actor noms, it’s also deservingly nominated for cinematography, best director and score. Some shots are daringly off centre, silences are equally as important as dialogue, and piano keys lightly bounce throughout scenes. It's a box office "king" that dares to be a bit artsy. - Michelle

WHY IT'S NOT: Aside from an especially wickedly witty detour into sailor-speak (swearing, Lionel swears, is a great anti-stutter technique), The King's Speech doesn't really lead us into uncharted cinematic territory. Like most every historical drama, it sounds interesting enough at the outset (the king can't talk!), but is actually rather slow-moving—until the obvious, overwrought and way-heavily scored ending (spoiler alert: the king actually can talk if he really tries!). And while that's perfectly acceptable, you have to wonder if it truly represents where filmmaking at this particular moment in time. Some people also seem to have a problem with the fact that it brushes over the political struggles of the time (with the exception of the random mentions of Hitler and the war) and focuses on the personal struggles of one (albeit very important!) man. - Emily

THE FINAL VERDICT: This film is the top contender for the crown, only possibly to be overthrown by The Social Network. As for the other 11 noms, it’s sure to take a bite out of those as well.

Check out Emily's original review here! That's it for our Oscar countdown but be sure to tune in and see who wins tonight!

The King's Speech

Photo: allmoviephoto.com

(Royal with brain freeze.)

Starring Colin Firth, Helena Bonham Carter, Geoffrey Rush and Guy Pearce. Directed by Tom Hooper. 111 minutes. PG

Back in high school, when Juliet told us that her "only love was sprung from his only hate," I said, "Shakespearean bitches be crazy." Little did I know a few years later I'd be living out that very statement at the movies. Except the loathsome lovah in question wouldn't be related to my father's mortal nemesis but rather, one of my own.

I can't remember a time when I didn't absolutely despise historical dramas. In my generally open mind, they're incredibly dull, drawn out and attentive to minute details - even when the story that inspired it is obviously intellectually engaging. Just because they're based on real life doesn't give them life. Or so I'd say to whatever former close friend or family member who dragged me to see the latest long-winded on-screen representation of my Grade 10 history book.

So naturally when I bought a ticket for critical darling and TIFF '10 favourite (it scored the People's Choice Award) The King's Speech, I was expecting yet another over-hyped based-on-not-so-ancient-events flick I can't even pretend to cheer for. What I got was a freakishly fascinating, funny and, dare I say it, lovely film.

A lot of said glowing mini-review may have to do with Colin Firth, who pretty much embodies those words in every role (yes, even St. Trinian's). Having delivered a wholly heartbreaking performance in the most underrated movie of last year, A Single Man, you'd think he could only regress. But the doubly designated Mr. Darcy tops himself here, playing King George VI, who we find out here suffered from a serious speech impediment before and after taking over the throne in WWII-era Britain, with both genuine helplessness and grace. He doesn't just make you feel sorry for the self-conscious leader. He makes you feel every stutter and stumble. To use a civilian (and 90s childish) pun, he just plain-out rules.

Firth's co-stars, Helena Bonham Carter and Captain Barbosa, er Geoffrey Rush (playing the queen mum and George's speech therapist, respectively) are also excellent. As is the surprisingly lively (and unpolitical!) script, both classy and crass, providing fodder for heavy-hearted history buffs and sailor-mouthed cynics alike.

One minute we get to see dear old Queen Elizabeth (alongside a mini Margaret), imagined as a young girl with passion for whimsy and toy horsies and Winston Churchill, get played by a rat - or rather, a man who seems to play them a hell of a lot (Timothy Spall). The next we get our knit socks knocked off and into a profanity-laden free-for-all that could well be ripped from a Tarantino movie. It was that particular scene, which demonstrates one of Rush's character's many unorthodox teaching methods, that showed this history hater that maybe Romeo's star-crossed mistress wasn't so off after all.

The King's Speech may be dressed up like my least favourite genre but in truth, it's just irresistible underdog tale masquerading in medals and full tails. Behind the perfectly under-toned lighting, meticulous furnishing and big-expectations back story, lies a totally unpretentious story of an emotionally damaged man who simply wanted to be able to tell his country to stay strong in spite of an oncoming story. And to put it in one of the many terms King Firth uses in his one colourfully colloquial speech, it's the tits. A-