The King's Speech (2010)

Call it a film that practices restraint against other possible creative routes in filmmaking, or a film that conforms to filmic conventions, The King's Speech draws audiences from all walks of life because it is a performance film by its nature. Similar to many other performance spectacle in the world the story has simple and funny premise dramatize at different The King or Berty, played by Colin Firth, aims to deliver a speech astutely to an audience without stammering. He was helped by an 'experience-wised' speech therapist, Lionel played Geoffrey Rush. The mentoring sessions flowed rhythmically because of the beautiful dialogue between the two characters chronicling the incapacity and tension of the King in achieving the suitable speech conditions for public speaking.

The linearity of the story is accentuated with good visual design using wide-angle lens motifs to emphasize the emotional struggle the King is having with himself. The King's Speech' stylized cinematographic use of imbalance framing wherein characters are framed far right from the usual framing offers new perceptual routes for the viewers. The King's Speech's editing is both also notable primarily because it uses axial editing wherein violations of the 180-degree rule results to a fair amount of complexity in it structure as compared to the usual shot-reverse shot orientation. (catch it at Tesco)

This is the take off point of The King's Speech with respect to David Fincher's The Social Network (2010). Both are talkies, and both use the force of the editing to harness the rhythmic dynamics of the dialogue as it glides from person to person. But The King's Speech's eclectic balance in both cinematography and editing surprisingly gave the film a far more superior tone than The Social Network (2010). To close this The King's Speech is supple, simple and aesthetically finesse. But I would measure that praise by saying to what occurred to me the lack of insight into the human soul of the character of the King. Perhaps maybe this is the reason why the film seems theatrical and bouncy.


Ciao!
****