Better late than never, right? I wrote the review below for an arts/entertainment Web site. (It won't be published. It was more of a proposal/audition.) Thought I'd share it with you, too:
I saw “The King’s Speech” very late in its theatrical run. In truth, I was dreading the experience the way I used to dread those weepy Merchant-Ivory costume dramas. Sitting through the latter always reminded me of the hard slog through the Sunday New York Times. I knew it was good for me. I knew it was something that cultured, well-educated people were expected to do. But I never really enjoyed it.
For months, I felt the same way about “The King’s Speech.” Having finally seen it, though, I’m sorry I waited so long.
By now you know the story: At a dangerous moment in European history, a reluctant monarch must conquer his speech impediment or risk losing the confidence of his subjects. What you may not know is how well told the story is.
I speak from personal experience. For 20 years of my life—from, roughly, age 14 to age 34—I had a terrible, crippling fear of public speaking. I don’t mean “butterflies in the stomach,” sweaty palms, and a shaky voice. I mean hyperventilation, blackouts, an overwhelming sense of doom, bodily tremors, a physical inability to force words out of my mouth, a feeling of lost physical and mental control—in short, full-scale panic.
When you fear public speaking in this way, occasions on which you are requested, or required, to speak are utterly withering. Colin Firth captures that feeling expertly in “The King’s Speech.”
When he is forced to the microphone, he gets a dead look in his eyes, as if he is being marched to the gallows. He swallows uncontrollably, uncomfortably, and his face grows slack. He responds to well-wishers flatly, if at all; he knows that their hopes for a good showing will only add to his humiliation. He does not panic, because he is not permitted to: He is a dignified, buttoned-down Englishman, and a royal one at that. But the pitiable look on his face tells you that he would give virtually anything to be anywhere else doing anything but this.
Firth captures all of this in small ways, primarily through subtle changes in voice, expression, and body language. It is a quiet performance (apart from occasional, and surprising, flashes of temper), befitting a quiet character. But it’s no less powerful for its lack of showy actor’s tricks and tics.
Though Colin Firth anchors the film, Guy Pearce deserves special notice for his role as King Edward VIII.
I’ve always liked Pearce, and have wanted him to do well on screen (as corny as that may sound). But I’ve often sensed that he was trying too hard as an actor: undergoing assorted physical transformations, attempting to hide his leading man looks by appearing greasy and unshaven, affecting a mincing speaking style, or struggling mightily, and not always successfully, to shed his Australian accent.
In “The King’s Speech,” though, Pearce looks like the well-fed movie star that he is, and speaks in a more or less conventional style—albeit with a modest English accent. Even so, he conveys perfectly the selfish, immature, sometimes cruel behavior of a man who is not fit to be king, and whose choices ultimately force him from the throne. It’s a surprisingly modest performance, and it works well.
So does most everything else about “The King’s Speech.” It’s an entertaining, inspiring story, but one that’s told in a way that doesn’t make a shameful play for tears or cheers, and that ties things up with a bow that isn’t too perfect or pretty.