The King's Speech

Many of us like to think of British royals as Julie Andrews and Helen Mirren, or Patrick Stewart and Kenneth Brannagh. But we haven’t seen them quite like this.

The King’s Speech is a refreshing take on Pygmalion, which itself is likened to a Cinderella story, and yet The King's Speech is borne out of history; Shaw only wishes his script was as much fun as this one. The Duke of York is debilitated by his stammer, and having seen numerous doctors with royal referrals, has resigned himself to an identity of “B-b-b-b-bertie” the stuttering son of King George V. In fact, screenwriter David Seidler has smartly paid homage to Shaw’s infamous play by including a scene in which one doctor insists upon having the Duke try to speak while keeping marbles in his mouth. When the The Duke’s adoring wife Elizabeth is less willing to give up, they instead seek the unconventional help of Australian speech therapist Lionel Logue.

It practically goes without saying that Colin Firth and Geoffrey Rush are brilliant. Their names are synonymous with great performances (if one forgives Firth for Mamma Mia! After all, who turns down a chance to work with Meryl Streep?). That said, my fear was that by purchasing my ticket I had committed myself to a second edition of The Queen – poorly paced and overlong but with undeniably strong performances that (would hopefully) sustain my interest. Thankfully, The King’s Speech is so much better than that. Director Tom Hooper has done a beautiful job filming a deeply personal and moving film, choosing to allow the dynamic performances to come to the fore. Even the predictable lines or moments are entirely earned, the same way you or I may follow a statement with “it had to be said.”

What stood out to me was the excellent cinematography. It has been a long time since I felt a film was so enhanced by the placement and effectiveness of the framing of shots. The artistry of a single frame could be felt in a way that reminded me of A Single Man. Often simple, but thoughtful. Similarly, Helena Bonham Carter gave a performance unlike anything I’ve seen from her and she is a pleasure to watch. As a loving wife and mother, Carter brings grace, love, and a woman’s touch to the otherwise reserved royal family.

Notes:

-        As with so many wonderful films, the story behind its realization is every bit as fascinating as the story that made it to screen. Playbill.com recently featured a “Stage to Screens” article by Harry Haun that details the process. (http://www.playbill.com/features/article/147151-STAGE-TO-SCREENS-The-Kings-Speech-the-Acclaimed-Film-Started-as-a-Play-and-May-Return-as-One)

-        Colin Firth is most famous for having played Mr. Darcy in the BBC’s adaptation of Pride and Prejudice; his leading lady from that miniseries is also in The King’s Speech as Lionel Logue’s wife.

True Grit

Confession: I haven’t seen Jeff Bridges in much of anything since I saw him captain the 1996 film White Squall. Maybe I’ve lived under a rock, but I somehow have yet to see The Big Lebowski and Crazy Heart. Maybe he deserved the Academy win last year. Or maybe he just needs a cowboy hat the way Helena Bonham Carter needs a corset – a talisman that gives their performance strength and power. Regardless, what I loved about Bridges in White Squall reappears in True Grit: tough love and determination, and a low tolerance for sissies.

In the late 1800s, fourteen-year-old Mattie Ross enlists the gruff, tired, one-eyed Rubin “Rooster” Cogburn to help find the man who killed her father. Cogburn’s half-drunk, half-asleep reticence sustains him until there’s action – at which point he readily comes to life, only to resume his cocky, distanced demeanor thereafter. His rambling chatter is met at counterpoint by the lofty speech of Texas Ranger LaBoeuf (pronounced “Lah-beef,” as he is a man who clearly has a beef with his enemy), also on the trail of one murderous, outlaw scoundrel who goes by Tom Chaney, among other aliases. Incidentally, it’s a kick to hear three renegades of the law chasing after a criminal called Chaney. Mattie, Cogburn, and LaBoeuf make a lively threesome as they pursue Chaney in Arkansas’ wild Chocktaw territory.

One other confession before I continue: I have not, before True Grit, seen a Coen brothers film. My knowledge of them is largely through reputation, and I understand they are a force with which to be reckoned. Much like Cogburn, I suppose, they have proved to be men of true grit. As far as I can comment on their filmmaking, I believe exposition is not their strength, and perhaps their cinematography serves not the picture but their ability to cast and carve characters exceedingly well. My qualm lies in the lack of gravitas permitted to certain small corners of the film. Elizabeth Marvel’s voiceover work as the elder Mattie Ross left much to be desired; the final lines of the film ought to have far more gravitas. Brief character roles are filled and depicted with incredible detail, but it’s hard to tell if they’re trying to illustrate or caricaturize traditional figures of the cinematic westerns. Early in the film, Mattie walks in to a public court hearing, where I wasn’t sure if the prosecuting lawyer was a humorous figure or a man to be taken seriously.

That aside, every performer in the film took their role and enhanced it. Newcomer Hailee Steinfeld brings a contemporary accessibility to nineteenth century, adolescent farmer’s daughter who has appointed herself head of the household. Her performance has made quite an impression on movie audiences, rivaling Chloe Grace-Moritz as Hit Girl (Kick-Ass) for Bad Ass Young Female Figure of the Year. What Mattie retains that Hit Girl doesn’t is her youth: on Chaney’s trail, she still delights in the care of her horse as a child dotes on a pet, and her eagerness to avoid conflict between allies by distracting them with ghost stories betrays her innocence. It’s a clever combination the Coen brothers have drawn, and well balanced by Miss Steinfeld. I last saw Matt Damon in the Clint Eastwood drama Hereafter, but his appearance in True Grit is delightful. As LaBeouf, he’s required to display a touch less modesty and a bit more bravado than he usually does, though he wisely allows Bridges to take the fore. Cogburn’s a hell of a character and Bridges is no less than fantastic as a gravelly, gristly bear prodded from hibernation to do what he does best – hunt.

Using humor to temper the course of adventure, it’s a timely film to help get through the winter. I would not be surprised to see True Grit collect several Academy Awards. For anyone who had doubts about a Coen brothers remake of a 1968 classic, True Grit has certainly proved its mettle.