The King's Speech (2010)

Firth is off to a great start in the opening scene, visibly discerned by what's about to happen, and not noticing that everyone of his people can see it, thus trying to reassure him. Firth is a true old-school actor and excels at the opportunity of a role where he gets to work with the smallest details, as his face is front and centre. He does not disappoint. Whether struggling with expectations from his father or his people, or agonizingly reliving the worst parts of his childhood, this film is Firth at his very best.

But though Firth is truly excellent, Geoffrey Rush gives him plenty of help. That hard to point out quality some artists just seem to have, he possesses in abundance. His quirky self-assured portrayal of Lionel Logue a perfect match to the Duke of York's ill-tempered and frustrated figure.

The chemistry between two actors has centre stage, as it should. And they truly are remarkable in their best scenes. Particularly the epiphanies bestowed upon the Duke/King by the purposefully disrespectful and provocative Logue. 

Generally, the cast is astonishing. Some great names trying to make their mark on a film where the two aforementioned are given more or less all the juicy bits. Pearce, like his brother, talking with a particularly nasal voice during their formal speeches. More surprisingly, Bonham-Carter also comes out well in this close-up friendly film. She displays all the traits and expressions of a loving and supporting, yet worried, wife. There isn't really room enough for any of them, though. Both as a consequence of sheer screen time, but also the quality the two leads bring. As for Spall as Churchill, his role is so minor there is no real impression to make. 

As the war moves closer, as does the suspense of the film, and though it is a strange change of pace for just a couple of minutes, it doesn't feel unnatural or forced. 

Director Hooper uses his cast perfectly to demonstrate the disappointment and awkwardness that arises from the regent's lack of coherent speech in front of a microphone. And a big tip of the hat to him for making a scene where a grown man sings bad experiences from his childhood, making us all feel crestfallen for him. Firth's first speech in front of his cabinet is breath-taking as Hooper relies on total silence in a large, sombre room, with the wonderful music of Alexandre Desplat slowly building up. 

Despite the excellence of Desplat's score, Hooper's use of Beethoven's 7th during Firth's final exam is simply sublime. An awe-inspiring scene in every aspect. From a formal address to the people. Now, that is art. 

This film is a marvel to watch for slow and methodical acting after a perfect cast.

9/10