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

The Best Offer (2013)

One simply can, nor should, overlook the opportunity to see Geoffrey Rush and Donald Sutherland interact. 

Firstly, the scenography is stunning, putting Rush perfectly into his role. Mansion after mansion filled with priceless art, restaurants of the most immaculate kind, his wardrobe, and of course his auction house. Pristine. Whether it's the auction room itself or just the storage facilities. You'd do well to find a film with more meticulously chosen venues. 

Then there's the mystery. It starts off with little hints. One could imagine Rush's Mr. Oldman would take it a bit more in stride, but the character is a peculiar one. The mystery does evaporate as we move on, being replaced by the strange relationship between the highly successful Rush and the curious young woman behind the painting. 

Rush is his usual brilliant self. His growing infatuation slowing getting the better of him. As a method actor that excels at tiny details and expression, he gets to play a very wide array. But the mood of the film doesn't really invite a romantic notion in the viewer, and even less so how little we get to see of the object of his affection. Her erratic behaviour helps little in that regard, nor does the huge age difference. Hoeks plays her part very well, but her screen-time is a mysterious voice for half the time, and her transformation therefore feels less well-built than that of Rush. But perhaps that is by director's choice

The dialogue is naturally somewhat pretentious and of higher standard to accommodate Oldman and his hiding heiress. Higher classes will have long words. Though there is at least one hint in it all that's too obvious for the viewer, and definitely too obvious for Oldman to miss. 

Director Tornatore is at his best when allowing Rush his space, though he's also very apt at both creating an eerie atmosphere, and not half-bad at Lynchian quirkiness either. You do get the feeling he doesn't quite know where to go with his characters or the story as such. There are grand metaphors comparing love to art that are overly obvious (particularly the parts about forgeries) and many different threads. They do line up in the end, but unfortunately in the most lazy and tedious way. 

So it has some excellent acting, it does leave you wondering. But it seems my scepticism while watching was well founded. The main plotline and subsequent ending was just as obvious and lazy as I feared it would be.

And that was a disappointment

6/10