The King’s Speech

The King’s Speech tells the story of the man who became King George VI, the father of Queen Elizabeth II. After his brother abdicates, George (‘Bertie’) reluctantly assumes the throne. Plagued by a dreaded stutter and considered unfit to be king, Bertie engages the help of an unorthodox speech therapist named Lionel Logue. Through a set of unexpected techniques, and as a result of an unlikely friendship, Bertie is able to find his voice and boldly lead the country into war.
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Credits: TheMovieDb.

Film Cast:

  • King George VI: Colin Firth
  • Lionel Logue: Geoffrey Rush
  • Queen Elizabeth: Helena Bonham Carter
  • King Edward VIII: Guy Pearce
  • Winston Churchill: Timothy Spall
  • King George V: Michael Gambon
  • Myrtle Logue: Jennifer Ehle
  • Archbishop Cosmo Lang: Derek Jacobi
  • Princess Elizabeth: Freya Wilson
  • Princess Margaret: Ramona Marquez
  • Private Secretary: Richard Dixon
  • Equerry: Robert Portal
  • Wallis Simpson: Eve Best
  • Chauffeur: Paul Trussell
  • BBC Radio Announcer: Adrian Scarborough
  • Robert Wood: Andrew Havill
  • BBC Technician: Charles Armstrong
  • Dr. Blandine Bentham: Roger Hammond
  • Laurie Logue: Calum Gittins
  • Valentine Logue: Dominic Applewhite
  • Anthony Logue: Ben Wimsett
  • Theatre Director: David Bamber
  • Willie: Jake Hathaway
  • Lord Wigram: Patrick Ryecart
  • Nurse: Teresa Gallagher
  • Lord Dawson: Simon Chandler
  • Queen Mary: Claire Bloom
  • Duke of Kent: Orlando Wells
  • Duke of Gloucester: Tim Downie
  • Butler: Dick Ward
  • Footman: John Albasiny
  • Boy in Regent’s Park: Danny Emes
  • Stanley Baldwin: Anthony Andrews
  • Steward: John Warnaby
  • Neville Chamberlain: Roger Parrott
  • Royal Marine (uncredited): Dean Ambridge
  • Mrs. Cooper – Vocalist: Julianne Buescher
  • Binky (uncredited): James Currie
  • Infantry (uncredited): Graham Curry
  • Policeman (uncredited): Tony Earnshaw
  • BBC Technician / Soldier (uncredited): Sean Talo

Film Crew:

  • Editor: Tariq Anwar
  • Executive Producer: Geoffrey Rush
  • Executive Producer: Bob Weinstein
  • Executive Producer: Harvey Weinstein
  • Additional Music: Ludwig van Beethoven
  • Original Music Composer: Alexandre Desplat
  • Production Design: Eve Stewart
  • Makeup Artist: Paul Gooch
  • Hairstylist: Carmel Jackson
  • Foley: Andie Derrick
  • Foley: Peter Burgis
  • Music Editor: Peter Clarke
  • Casting: Nina Gold
  • Costume Design: Jenny Beavan
  • Thanks: Albert Martínez Martín
  • Second Assistant Director: Chris Stoaling
  • First Assistant Director: Martin Harrison
  • Producer: Emile Sherman
  • Thanks: Andrew Mackie
  • Thanks: Richard Payten
  • Producer: Iain Canning
  • Orchestrator: Jean-Pascal Beintus
  • Camera Operator: Danny Cohen
  • Executive Producer: Mark Foligno
  • Executive Producer: Paul Brett
  • Director: Tom Hooper
  • Hairstylist: Nana Fischer
  • Executive Producer: Tim Smith
  • Screenplay: David Seidler
  • Art Department Coordinator: Julia Castle
  • Special Effects Supervisor: Mark Holt
  • CG Supervisor: Viral Thakkar
  • Co-Executive Producer: Deepak Sikka
  • Thanks: Christos Michaels
  • Post Production Supervisor: Emma Zee
  • Supervising Art Director: David Hindle
  • Set Decoration: Judy Farr
  • Costume Supervisor: Marco Scotti
  • Supervising Sound Editor: Lee Walpole
  • Sound Re-Recording Mixer: Martin Jensen
  • Supervising Sound Editor: Gerard McCann
  • Sound Re-Recording Mixer: Paul Hamblin
  • Visual Effects Supervisor: Derek Bird
  • Line Producer: Peter Heslop
  • Visual Effects Editor: Collette Nunes
  • Second Unit Director of Photography: Martin Kenzie
  • Production Sound Mixer: John Midgley
  • Wigmaker: Alex Rouse
  • Visual Effects Editor: Migs Rustia
  • Visual Effects Editor: Paul Stemmer
  • Visual Effects Producer: Melinka Thompson-Godoy
  • Sound Effects Editor: Catherine Hodgson
  • Location Manager: Jamie Lengyel
  • Visual Effects Producer: Thomas M. Horton
  • Prosthetic Supervisor: Kristyan Mallett
  • Makeup Artist: Christine Whitney
  • Steadicam Operator: Zac Nicholson
  • Still Photographer: Laurie Sparham
  • Unit Publicist: Emma Davie
  • Property Master: Bruce Bigg
  • Location Manager: David Broder
  • Location Scout: Camilla Stephenson
  • Art Direction: Leon McCarthy
  • Hair Designer: Frances Hannon
  • Script Supervisor: Cathy Doubleday
  • Dialogue Editor: Matthew Skelding
  • ADR & Dubbing: Forbes Noonan
  • Dialogue Editor: Andre Schmidt
  • Gaffer: Paul McGeachan
  • Co-Producer: Simon Egan
  • Producer: Gareth Unwin
  • Production Manager: Erica Bensly
  • Executive In Charge Of Post Production: Jeff Maynard
  • Special Effects: James Davis III
  • Digital Compositors: Cyntia Büll
  • Visual Effects Coordinator: Charlotte Collings
  • Digital Compositors: Kelly Fischer
  • Digital Compositors: Ilamuruguselvan
  • Visual Effects: Danny S. Kim
  • Digital Compositors: Hanuman Patel
  • Color Timer: Jeff Smithwick
  • Music Supervisor: Maggie Rodford
  • Orchestrator: Nicolas Charron
  • Orchestrator: Sylvain Morizet
  • Transportation Captain: Carl Isherwood
  • Transportation Captain: Simon Jones
  • Public Relations: Dennis Davidson
  • Dialect Coach: Neil Swain
  • Location Scout: Philip Lobban
  • Stand In: Teresa Mahoney
  • Armorer: Nick Jeffries
  • Construction Manager: Alan Chesters
  • Storyboard Artist: Douglas Ingram
  • Choreographer: Scarlett Mackmin
  • Colorist: Gareth Spensley
  • Assistant Costume Designer: Sally Turner
  • Stand In: Steve Morphew
  • Assistant Sound Editor: Philip Clements
  • Visual Effects Editor: Tony Tromp
  • Production Coordinator: Fiona Garland
  • Production Accountant: Marilyn Goldsworthy
  • In Memory Of: Edwin Morris Hooper

Movie Reviews:

  • Andres Gomez: Round movie: good story, great cast, impressive stage and fantastic performances. It has it all.
  • John Chard: The gift of cinema does credit to the gift of speech.

    The King’s Speech is directed by Tom Hooper and written by David Seidler. It stars Colin Firth, Geoffrey Rush, Helena Bonham Carter, Guy Pearce, Timothy Spall, Derek Jacobi & Michael Gambon. Music is by Alexandre Desplat and photography is by Danny Cohen. The idea for the film came about after Seidler read about how King George VI (Firth) overcame his stammer after a friendship was formed with his voice coach Lionel Logue (Rush). Having himself overcome a stutter problem in his youth, Seidler set about writing his story from informed information. A bonus came before filming started when notebooks belonging to Logue were put forward for use. These enabled Seidler to incorporate works from the books into the screenplay. Plot picks up just prior to George’s brother, Edward (Pearce), abdicating the throne, thus thrusting the stammering George on to the hottest seat in England. With World War looming, George will be needed to make the speech of speeches to becalm his nation, but first he must work closely with the affable Logue and hope it brings an end to his vocal woes.

    I first viewed The King’s Speech just a couple of days before the Academy Awards that year, so I didn’t know how it was going to perform there. It would garner the Academy Award for Best Picture, Best Director (Hooper), Best Actor (Firth) and Best Original Screenplay (Seidler), with 12 nominations in total. This was a year when Oscar and BAFTA (where it won 7 of the 14 categories it was nominated for – including Best Film and Best Actor for Colin Firth) got things right. The film at that time I watched it had already made over $230 million in profit, which was a figure guaranteed to rise considerably since the film was still playing to packed theatres in the UK (which was indeed the case as the last figure put forward was $412 million).

    I myself ventured to the theatre on 22nd February 2011, which was over 6 weeks after it was first released in its homeland. As I approached the cinema I saw there was a queue! A queue? I haven’t queued to get into a film since the halcyon days of Jaws, Star Wars and Close Encounters of the Third Kind! I noticed there was many youngsters in this line, so of course they were going to see the Yogi Bear movie, or that Gnomeo & Juliet film, Surely? Not so actually. In they went to see The King’s Speech, an audience that ranged from 12 years of age to the fragile OAP day trippers. For the next two hours the only sounds I heard were that of laughter, hushed words of praise for what was on the screen, and even sobs during some of the more tender moments within. No mobile phones, no chitter chatter about acne or the boy next door, just an across the board appreciation for expert film making.

    There in is the reason why The King’s Speech coined it in at the box office and broke merry records as it went on its way. It has universal appeal, a film without tricks, just a simple involving story acted supremely by a cast of bona fide thespians. It beats a true heart, whilst doling out a visual history lesson to those so inclined to matters of the British Monarchy and the political upheaval about to surface as Adolf started his surge. Even for a film so chocked full of dialogue and basic human interactions, the pace is brisk and never sags, the quieter reflective moments only bringing anticipation of the next enjoyable scene. When all is said and done, The King’s Speech success snowballed because of word of mouth, it started out as an intended independent picture, to be shown in selected theatres only, and now it holds up as one of the best films of 2010/2011. Believe me, believe the hype, that if you still haven’t seen it then you owe it to yourself to see this beautiful movie. 10/10

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