The glitz, glamour, starlets, paparazzi and a man named Oscar. All of this adds up to one thing: the 83rd Academy Awards. The biggest extravaganza in Tinseltown is on its way back to the famed Kodak Theatre and our television screens. This is what I like to call the Super Bowl for cinephiles. We watch with eagerness and wait for the envelopes to be opened with the hopes that our favorite films of the year will bring home a gold statuette. With the slew of marvelous movies that deserve considerable recognition, I'll be cheering for many of the nominees.
This year, the star-studded ceremony will be hosted by two of Hollywood's best and brightest young stars: Anne Hathaway and James Franco, the latter of who scored a Best Actor nod this year for 127 Hours. The duo of youthful actors will surely bring much of the night's energy. This will be thanked by most viewers who usually think that the 3-hour+ show drags in spots. But given how much I'm devoted to watching the Academy Awards, it can proceed until two in the morning for all I care. Seeing as Franco and Hathaway are just as adroit in doing comedy as drama, we're destined for a memorable show.
2010 brought us everything in film, from a secret team of dream invaders, backstabbing college friends, a mentally-unstable ballerina, a young hiker trapped deep in a canyon, all among other imaginative stories. They all deserve to be awarded; but alas, there are those that strike Oscar gold, and those that go home empty-handed. So here are my picks for who I think will win and who I think should win in the top eight categories.
Best Adapted Screenplay: 127 Hours, The Social Network, Toy Story 3, True Grit and Winter's Bone
Will Win and Should Win: The Social Network - Right when this film came out, it was unmistakable that this was one category where Aaron Sorkin's genius screenplay would reign supreme. His words jumped off the page, onto the screen and into the minds of the audience where the crisp dialogue stayed long after the credits rolled. The script was anchored by a gifted young cast that delivered their lines with vigor, haste and wit. Oscar night can be unpredictable, but Sorkin is sure to emerge victorious. Even though his fellow nominees are all praiseworthy in their own right, they should throw in the towel right now.
Best Original Screenplay: Another Year, The Fighter, Inception, The Kids Are All Right and The King's Speech
Will Win: The King's Speech - Tom Hooper's latest achievement has everything that the academy fancies: a story of a character triumphing over a disability, respected British actors and a momentous historical backdrop. It was an irresistible crowd-pleaser about an English monarch attempting to fix his speech impediment while trying to unite his country as they got ready to enter World War 2. It was a poignant journey that was highlighted by moments of light humor, and the scene with King George's final speech was one to embrace and cheer for.
Should Win: Inception - A summer blockbuster that has ample amounts of fine storytelling and dazzling visuals is a rare thing, and Inception carried both. Its twists and turns made it deserving of multiple viewings, and the ambiguous ending instigated numerous conversations. What more could you ask for in a movie? Christopher Nolan gave us a much-needed dose in originality in our action films, and hopefully others will follow in Inception's footsteps.
Best Supporting Actor: Christian Bale for The Fighter, John Hawkes for Winter's Bone, Jeremy Renner for The Town, Mark Ruffalo for The Kids Are All Right and Geoffrey Rush for The King's Speech
Will Win and Should Win: Chrstian Bale for The Fighter - In 2010, I never saw an actor throw himself into a role as much as Bale. As the boxer-turned-cocaine addict Dicky Eklund, Bale proved again to be one of the most dedicated actors in the business. He took on a Boston accent so fluently that he came off as an authentic native of the area. He lost weight again for a film role, and was almost unrecognizable with his scrawny appearance. You forgot that this was Christian Bale, but his performance was unforgettable.
Best Supporting Actress: Amy Adams for The Fighter, Helena Bonham Carter for The King's Speech, Melissa Leo for The Fighter, Hailee Steinfeld for True Grit and Jacki Weaver for Animal Kingdom
Will Win and Should Win: Melissa Leo for The Fighter - Her character might not have been a boxer; but Leo as Alice Ward had as much fight in her as her pugilist sons. She was a mother who would do anything for her children's success, and was someone that you certainly wouldn't want to cross paths with. Melissa Leo took the role of a sports mom to an elevated level. Alice exhibited tough love, but it was love nonetheless. She was one hard-hitting firecracker.
Best Actor: Javier Bardem for Biutiful, Jeff Bridges for True Grit, Jesse Eisenberg for The Social Network, Colin Firth for The King's Speech and James Franco for 127 Hours
Will Win and Should Win: Colin Firth for The King's Speech - We're used to watching actors portray famous leaders. What separated Firth's performance from the rest was that it wasn't his subjects that looked to him for help. It was the king that asked for the assistance from one of his subjects. In that, he could be seen as an average person, asking for help just like any other person would, and it’s fascinating. Firth mastered an unfaultable stutter and he easily won us over with our sympathy for his character. His performance was nothing short of regal.
Best Actress: Annette Bening for The Kids Are All Right, Nicole Kidman for Rabbit Hole, Jennifer Lawrence for Winter's Bone, Natalie Portman for Black Swan and Michelle Williams for Blue Valentine
Will Win and Should Win: Natalie Portman for Black Swan - As Nina Sayers, a ballerina who's obsessed with being the best dancer she can be, we saw a whole different side to the acting ability of Portman. Similar to what Darren Aronofsky does with his other characters, he showed her character in her lowest and most fragile. I found Natalie Portman's performance symbolic. Nina explored a baleful side of herself that she never thought she had, while Portman expanded her talent as she dove into this physically demanding role. Both character and actor traveled beyond their comfort zone. That's a true test of ability for an actor, and Natalie passed.
Best Director: Darren Aronofsky for Black Swan, Joel and Ethan Coen for True Grit, David Fincher for The Social Network, Tom Hooper for The King’s Speech and David O. Russell for The Fighter
Will Win and Should Win: David Fincher for The Social Network – Fincher is known to be a perfectionist as a director, and films multiple takes of several scenes until he gets what he’s looking for. It’s clear that in his latest film that all of the strenuous work paid off in the end. He skillfully captured both the college world and the business world and didn't leave out any details as he chronicled the origins of Facebook. Fincher easily transported us into the story; and once the film dissolved into the first frame, we were hooked.
Best Picture: Black Swan, The Fighter, Inception, The Kids Are All Right, The King’s Speech, 127 Hours, The Social Network, Toy Story 3, True Grit and Winter’s Bone
Will Win: The Social Network – David Fincher’s film has been scooping up nearly every award for the past couple of months. But with The King’s Speech quickly gaining momentum after winning at the Screen Actors Guild, Directors Guild and Producers Guild, we might have a race on our hands. Although the academy loves a British drama, I think they will swing more towards The Social Network, which captured a global communication revolution and a defining moment in our culture.
Should Win: Toy Story 3 – As much as I loved The Social Network, my unending admiration of Pixar has gotten the best of me. The movie had a picture perfect ending to end the series, and we couldn’t have asked for anything better. Through all of the laughs and tears, we were with Woody and Buzz until the very end, and it was a valued gift from Pixar. Their imagination is one-of-a-kind. Just like its predecessors, Toy Story 3 is a treasure to be honored as one of the most esteemed in animation and cinema.
So ends my 2010 Oscar predictions. I hope many of them come true, but I also wouldn’t mind a couple of surprises. It could happen, since there have been some nominees that have picked up steam against their competition. Can Annette Bening edge out Natalie Portman? Will Hailee Steinfeld derail Melissa Leo? Can anyone beat Colin Firth? And will The King’s Speech or The Social Network stroll away with the evening’s top prize? There’s only one way to find out. Watch the 83rd Academy Awards on February 27th on ABC at 8:30.
Saturday, February 19, 2011
Tuesday, February 15, 2011
My Top Five Favorite Films of 2010
As far as quality goes, 2010 was certainly a questionable year in Hollywood at first. The start of the summer looked hopeful with films like Iron Man 2 and Robin Hood leading the pack. But when those two and other thought-to-be hits didn't hit the blockbuster status that studios had hoped for, there was reason to worry about the rest of the summer, and the rest of the year for that matter. When Toy Story 3 and Inception saved the summer, it restored our hope and got us excited for the Fall movie season. When films like The Social Network, Black Swan and The King's Speech became critical and audience darlings, filmgoers became more optimistic for the remainder of the movie calender. It was clear that the last few months of 2010 brought out the big guns to cure us from the effects of a mediocre first half.
I know this list is late, but after having to put off previous reviews to make room for final exams, it took me a while to finish my reviews for the films I saw between Thanksgiving and New Year's. Most of the time, a lot of the Oscar-bait films don't get wider releases until the end of December or the beginning of January anyway; so I can't get my list out around the same time as the other critics do, which is at the end of the year. It's easier for them, since they have the privilege to see them before they hit theaters. I also always want to make sure that I've seen, if not all, most of the movies that I've wanted to see. Now that I'm all caught up, I finally have the list for my top five films of the year. Since I've only seen around 30 movies this year, it makes more sense to choose five instead of ten, like on other year-end lists. Other critics see more than 100 in a year, so there's more for them to choose from for a Top Ten list. So without further ado, here are my favorites.
1) Toy Story 3 - We knew it had to come to an end sometime. The story that we all grew-up with gave us one of the most bittersweet of finales. For those that were young when the adventure started, it enriched their childhood. For those that were adults, it helped them remember it. Pixar had a huge responsibility to create a fond farewell to our cherished group of toys. They've never had a movie that lacked heart, and it's safe to say that with Toy Story 3, Pixar outdid themselves. The outcome was one of the best film trilogies of all time, a masterpiece in animation and a hallmark in cinema. Tears were shed as we had to let go of these characters; but it's hard to envision a more perfect conclusion. It was clear as daylight that the filmmakers had a sincere passion for these characters. Woody and Buzz's journey is over, but they will always have friends in us.
2) The Social Network - Screenwriter Aaron Sorkin reinforced the power of the written word with what was easily the alpha script of the year. The characters, especially Jesse Eisenberg as Facebook creator Mark Zuckerberg, conveyed spark after spark of energy as they delivered the world-class dialogue. Director David Fincher is known to be a perfectionist, and it was evident in this film. Everything about The Social Network got etched into your mind with all of it's filmmaking brilliance. Although the plot was launched by the creation of Facebook, it was not all about the website. It concerned best friends who shared in a major communication revolution, only to then share in a detest of one another. It was a new age movie with an old fashioned moral center.
3) Inception - If there is any contemporary director that can seamlessly mix both action and subject matter that makes you think, it's Christopher Nolan. He gave us a film that wasn't just entertaining, but brainy. With a cast of mostly Oscar nominees, every performance was up to par to go along with the complex playground of mind games. The visual effects were, without a doubt, the year's superlative. They weren't there for the sake of being there. The visuals were a crucial part in keeping this adventure going. Inception's refreshingly inventive story will hopefully serve as a wake-up call to Hollywood, letting them know to not be afraid to feed moviegoers something imaginative.
4) The King's Speech - David Seidler's screenplay was a simple story, but a good one that was well told. With Colin Firth as King George VI and Geoffrey Rush as his unconventional speech therapist, it was an archetypical relationship between a student and his teacher. Between the film's dramatic and comical moments, we rooted for this royal underdog to get rid of his fear of public speaking and tap into his bravery to deliver a wartime speech. The charismatic cast brought all of their charm in full force, and I enjoyed every minute of it. With its execution of character development, story and acting, The King's Speech is a first-rate model on what a motion picture should be.
5) The Fighter - Sports dramas usually run the risk of being cliched and hit-or-miss, but The Fighter was a standout. With the use of its shaky-cam style of filming, we got the impression of watching a real out-of-control family that included a determined young boxer (Mark Wahlberg), his crack addict half-brother (Christian Bale), and their domineering mother (Melissa Leo). David O. Russell's film spent as much time out the ring as it did in it, providing a gritty look into the problems the family was confronted with. Of course, boxing was intricate to the plot; but when you sum it up, it was all about the family that helped Micky get to his moment of glory.
It sure was a challenge picking my top five favorites of the year out of all of the achievements done in film this year, but here they are. These movies exemplified everything you need to make a quality work of art, and for that, we must thank the creative teams behind them. There isn't an argument that 2010 had its ups and downs; but when all was said and done, it ended on a high note. With that, I'm very much interested to see what the new year has to offer the silver screen. If it's like previous years, 2011 will be unpredictable, and that's part of the fun.
I know this list is late, but after having to put off previous reviews to make room for final exams, it took me a while to finish my reviews for the films I saw between Thanksgiving and New Year's. Most of the time, a lot of the Oscar-bait films don't get wider releases until the end of December or the beginning of January anyway; so I can't get my list out around the same time as the other critics do, which is at the end of the year. It's easier for them, since they have the privilege to see them before they hit theaters. I also always want to make sure that I've seen, if not all, most of the movies that I've wanted to see. Now that I'm all caught up, I finally have the list for my top five films of the year. Since I've only seen around 30 movies this year, it makes more sense to choose five instead of ten, like on other year-end lists. Other critics see more than 100 in a year, so there's more for them to choose from for a Top Ten list. So without further ado, here are my favorites.
1) Toy Story 3 - We knew it had to come to an end sometime. The story that we all grew-up with gave us one of the most bittersweet of finales. For those that were young when the adventure started, it enriched their childhood. For those that were adults, it helped them remember it. Pixar had a huge responsibility to create a fond farewell to our cherished group of toys. They've never had a movie that lacked heart, and it's safe to say that with Toy Story 3, Pixar outdid themselves. The outcome was one of the best film trilogies of all time, a masterpiece in animation and a hallmark in cinema. Tears were shed as we had to let go of these characters; but it's hard to envision a more perfect conclusion. It was clear as daylight that the filmmakers had a sincere passion for these characters. Woody and Buzz's journey is over, but they will always have friends in us.
2) The Social Network - Screenwriter Aaron Sorkin reinforced the power of the written word with what was easily the alpha script of the year. The characters, especially Jesse Eisenberg as Facebook creator Mark Zuckerberg, conveyed spark after spark of energy as they delivered the world-class dialogue. Director David Fincher is known to be a perfectionist, and it was evident in this film. Everything about The Social Network got etched into your mind with all of it's filmmaking brilliance. Although the plot was launched by the creation of Facebook, it was not all about the website. It concerned best friends who shared in a major communication revolution, only to then share in a detest of one another. It was a new age movie with an old fashioned moral center.
3) Inception - If there is any contemporary director that can seamlessly mix both action and subject matter that makes you think, it's Christopher Nolan. He gave us a film that wasn't just entertaining, but brainy. With a cast of mostly Oscar nominees, every performance was up to par to go along with the complex playground of mind games. The visual effects were, without a doubt, the year's superlative. They weren't there for the sake of being there. The visuals were a crucial part in keeping this adventure going. Inception's refreshingly inventive story will hopefully serve as a wake-up call to Hollywood, letting them know to not be afraid to feed moviegoers something imaginative.
4) The King's Speech - David Seidler's screenplay was a simple story, but a good one that was well told. With Colin Firth as King George VI and Geoffrey Rush as his unconventional speech therapist, it was an archetypical relationship between a student and his teacher. Between the film's dramatic and comical moments, we rooted for this royal underdog to get rid of his fear of public speaking and tap into his bravery to deliver a wartime speech. The charismatic cast brought all of their charm in full force, and I enjoyed every minute of it. With its execution of character development, story and acting, The King's Speech is a first-rate model on what a motion picture should be.
5) The Fighter - Sports dramas usually run the risk of being cliched and hit-or-miss, but The Fighter was a standout. With the use of its shaky-cam style of filming, we got the impression of watching a real out-of-control family that included a determined young boxer (Mark Wahlberg), his crack addict half-brother (Christian Bale), and their domineering mother (Melissa Leo). David O. Russell's film spent as much time out the ring as it did in it, providing a gritty look into the problems the family was confronted with. Of course, boxing was intricate to the plot; but when you sum it up, it was all about the family that helped Micky get to his moment of glory.
It sure was a challenge picking my top five favorites of the year out of all of the achievements done in film this year, but here they are. These movies exemplified everything you need to make a quality work of art, and for that, we must thank the creative teams behind them. There isn't an argument that 2010 had its ups and downs; but when all was said and done, it ended on a high note. With that, I'm very much interested to see what the new year has to offer the silver screen. If it's like previous years, 2011 will be unpredictable, and that's part of the fun.
Friday, February 11, 2011
Darren Aronofsky pulls back the curtain on a more sinister view of ballet
As people, we thrive on our talents to bring us to greatness. No matter how good some of us become, we always try to reach that high level of perfection that we believe will fulfill our dreams. But through reasons that none of us can control, there will always be someone who's better. In the world of performing arts, competition is the name if the game. With so many that want to make it to stardom and worldly recognition, only a few are able to do so. That need to be in the spotlight can consume us. In Darren Aronofsky's deliciously disturbing ballet thriller, Black Swan, he delves deep into the mind of a young dancer who forces herself to connect to her dark side in order to give the finest performance she can.
Nina Sayers (Natalie Portman) deticates her life and love to the art of ballet. She is vying for the coveted part of the Swan Queen in the New York City ballet company's latest production of Swan Lake. When Nina's director (Vincent Cassel) chooses her to dance as the Swan Queen, he knows that she has the innocence and grace to play the White Swan; but isn't sure if she has the attitude that's needed to play the malevolent Black Swan. After the director chooses a newer member of the company, Lily (Mila Kunis), to be the Swan Queen understudy, Nina begins to show paranoid behavior. Thinking that Lily is trying to take the part of the Swan Queen, Nina slips into uncharted territory of her personality, and will use that to bring out her inner Black Swan.
This film is a worthy vessel for Portman's talent. Her performance is transformative, and quite literally at times. We see her go from an angelic young woman to a sensual sprite, all for the sake of her artistic achievement. Nina spirals down through a rabbit-hole of insanity, and pulls us down with her. At some point in our lives, we've wanted to take our specific talents to the next level, and be all that we could be; and Portman's portrayal of a girl whose need for perfection is her Achilles' heel is instantly relatable. With Mila Kunis, you wouldn't be able to tell that she did mostly comedy up until this point. She puts in as much effort as Portman does in order to channel another side of herself. Kunis is the seductive force of the movie. With her soft voice and striking eyes, we are entranced by her, just like Nina.
Barbara Hershey, as Nina's mother, has joined the ranks as one of the most spine-chilling parents in film history. At times, she is a serene and loving person. In other moments, however, she is a manipulative control-freak towards Nina, and has a dangerously unhealthy obsession with her. Winona Ryder makes a brief, yet effective appearance as Beth, a ballerina who was once a star; but is now replaced by Nina. With Beth's depression at being cast aside, and Nina's enthusiasm of being put in the spotlight makes for an interesting out-with-the-old-in-with-the-new correlation. Vincent Cassel is very intimidating as the ballet director who looks for only the best in his dancers. He pushes and pressurizes his students until they turn in the performance that he demands.
There is some superb camerawork by cinematographer, Matthew Libatique, in the film; especially in the scene taking place during Nina's opening night. When she's on stage as the White Swan, the camera follows her every move, and we're given an up-close-and-personal view of the performer that the audience at the ballet wouldn't normally see. Then, as Nina comes out as the Black Swan, the camera continues its dancing with Nina, and we see the complete alteration of her mentality that she has experienced throughout the course of the film. There is one scene where Nina and Lily begin dancing in a night club, and it's probably the most intoxicating part of Black Swan. With the constant flashing of the strobe lights, editor Andrew Weisblum uses them to place split-second images that seem to be out of someone's distorted dream. When Nina hits the dance floor, the viewer joins her descent into a nightmarish state-of-mind.
The screenplay, written by Mark Heyman, Andres Heinz and John McLaughlin, is a thorough vision of the physical and mental tolls that can take hold of an artist when they don't have anything but the need for a faultless performance on their mind. The desperate need to be in the spotlight can ultimately consume them. Black Swan endows the audience with a behind-the-scenes look at what goes on backstage in the world of ballet. A viewer of ballet or broadway productions marvel at the talented cast that tell the story; but they never clearly know what is going on in the performer's mind. By having Swan Lake as the ballet company's production in the film, the screenwriters are very resourceful in using that to draw some inventive parallels between the plot of the actual ballet and the plot of the movie. As in his previous films, Darren Aronofsky has the ability to show his characters at their lowest and most vulnerable. For him to be able to achieve that when his main focus is a ballerina, someone who lives and breathes the utmost form of art, is an unsettling wonder.
Nina Sayers (Natalie Portman) deticates her life and love to the art of ballet. She is vying for the coveted part of the Swan Queen in the New York City ballet company's latest production of Swan Lake. When Nina's director (Vincent Cassel) chooses her to dance as the Swan Queen, he knows that she has the innocence and grace to play the White Swan; but isn't sure if she has the attitude that's needed to play the malevolent Black Swan. After the director chooses a newer member of the company, Lily (Mila Kunis), to be the Swan Queen understudy, Nina begins to show paranoid behavior. Thinking that Lily is trying to take the part of the Swan Queen, Nina slips into uncharted territory of her personality, and will use that to bring out her inner Black Swan.
This film is a worthy vessel for Portman's talent. Her performance is transformative, and quite literally at times. We see her go from an angelic young woman to a sensual sprite, all for the sake of her artistic achievement. Nina spirals down through a rabbit-hole of insanity, and pulls us down with her. At some point in our lives, we've wanted to take our specific talents to the next level, and be all that we could be; and Portman's portrayal of a girl whose need for perfection is her Achilles' heel is instantly relatable. With Mila Kunis, you wouldn't be able to tell that she did mostly comedy up until this point. She puts in as much effort as Portman does in order to channel another side of herself. Kunis is the seductive force of the movie. With her soft voice and striking eyes, we are entranced by her, just like Nina.
Barbara Hershey, as Nina's mother, has joined the ranks as one of the most spine-chilling parents in film history. At times, she is a serene and loving person. In other moments, however, she is a manipulative control-freak towards Nina, and has a dangerously unhealthy obsession with her. Winona Ryder makes a brief, yet effective appearance as Beth, a ballerina who was once a star; but is now replaced by Nina. With Beth's depression at being cast aside, and Nina's enthusiasm of being put in the spotlight makes for an interesting out-with-the-old-in-with-the-new correlation. Vincent Cassel is very intimidating as the ballet director who looks for only the best in his dancers. He pushes and pressurizes his students until they turn in the performance that he demands.
There is some superb camerawork by cinematographer, Matthew Libatique, in the film; especially in the scene taking place during Nina's opening night. When she's on stage as the White Swan, the camera follows her every move, and we're given an up-close-and-personal view of the performer that the audience at the ballet wouldn't normally see. Then, as Nina comes out as the Black Swan, the camera continues its dancing with Nina, and we see the complete alteration of her mentality that she has experienced throughout the course of the film. There is one scene where Nina and Lily begin dancing in a night club, and it's probably the most intoxicating part of Black Swan. With the constant flashing of the strobe lights, editor Andrew Weisblum uses them to place split-second images that seem to be out of someone's distorted dream. When Nina hits the dance floor, the viewer joins her descent into a nightmarish state-of-mind.
The screenplay, written by Mark Heyman, Andres Heinz and John McLaughlin, is a thorough vision of the physical and mental tolls that can take hold of an artist when they don't have anything but the need for a faultless performance on their mind. The desperate need to be in the spotlight can ultimately consume them. Black Swan endows the audience with a behind-the-scenes look at what goes on backstage in the world of ballet. A viewer of ballet or broadway productions marvel at the talented cast that tell the story; but they never clearly know what is going on in the performer's mind. By having Swan Lake as the ballet company's production in the film, the screenwriters are very resourceful in using that to draw some inventive parallels between the plot of the actual ballet and the plot of the movie. As in his previous films, Darren Aronofsky has the ability to show his characters at their lowest and most vulnerable. For him to be able to achieve that when his main focus is a ballerina, someone who lives and breathes the utmost form of art, is an unsettling wonder.
Final grade: A
Saturday, February 5, 2011
This monarch's 'Speech' is one worth hearing
Public speaking is one of the most common fears among people. There’s only you and your audience. Everyone’s eyes are on you as they wait to hear the message you have to deliver. The speaker can either cast their fears aside, or freeze up at the podium. Both scenarios can happen to anyone; and it can come as a shock that even a monarch could have such a phobia. In Tom Hooper’s British drama, The King’s Speech, the director details the struggle of a royal family trying to help their patriarch get his word out to his country. As an enlivening account of the obstacles that come with being a king, it has all of the sensation of watching history in the making.
Following the death of his father, King George V (Michael Gambon), and the renunciation of the crown by King Edward VIII (Guy Pearce), the throne is passed down to Prince Albert (Colin Firth), who has had a troubling stutter since childhood. England is close to entering the second world war, and is in terrible need of a leader to unite them in this great crisis. His beloved wife, Elizabeth (Helena Bonham Carter), feels compelled to help him, and seeks out the assistance of a peculiar speech therapist, Lionel Logue (Geoffrey Rush). At first unsure of his unconventional teaching methods, Albert places his trust in Lionel so his subjects can place their trust into him as King George VI. What Albert learns will culminate in a radio-address that he must give to England to help lead them into an uncertain future.
What we have in The King's Speech is a masterful group of actors. Colin Firth gives a majestic performance as the timid king. With his stuttering and vulnerabilities that accomapny it, he effortlessly extracts our sympathies for his condition. Firth exhibits a deep-rooted fortitude in this leader who's determined to overcome his fear for the good of the people. Helena Bonham Carter, with all of her elegance and class, is the devoted wife that anyone would want. Carter has a very maternal quality to her character, treating her loved ones and new acquaintances with compassion. She has an unending loyalty to her husband; and like her, we follow her husband every step of the way to his defining moment. Geoffrey Rush, as the Shakespeare-quoting speech instructor, is the main soucre of the film's wit. He will make any viewer remember that one oddball, yet gifted teacher that they have had. Like any teacher, he is committed to his student's success. As a result, we get these two true talents of acting elate in each others company and make a very memorable cinematic friendship. The three leads and the remainder of the cast, which include Michael Gambon, Guy Pearce and Timothy Spall, are all jewels on the crown of this outstanding British cast.
Following the death of his father, King George V (Michael Gambon), and the renunciation of the crown by King Edward VIII (Guy Pearce), the throne is passed down to Prince Albert (Colin Firth), who has had a troubling stutter since childhood. England is close to entering the second world war, and is in terrible need of a leader to unite them in this great crisis. His beloved wife, Elizabeth (Helena Bonham Carter), feels compelled to help him, and seeks out the assistance of a peculiar speech therapist, Lionel Logue (Geoffrey Rush). At first unsure of his unconventional teaching methods, Albert places his trust in Lionel so his subjects can place their trust into him as King George VI. What Albert learns will culminate in a radio-address that he must give to England to help lead them into an uncertain future.
What we have in The King's Speech is a masterful group of actors. Colin Firth gives a majestic performance as the timid king. With his stuttering and vulnerabilities that accomapny it, he effortlessly extracts our sympathies for his condition. Firth exhibits a deep-rooted fortitude in this leader who's determined to overcome his fear for the good of the people. Helena Bonham Carter, with all of her elegance and class, is the devoted wife that anyone would want. Carter has a very maternal quality to her character, treating her loved ones and new acquaintances with compassion. She has an unending loyalty to her husband; and like her, we follow her husband every step of the way to his defining moment. Geoffrey Rush, as the Shakespeare-quoting speech instructor, is the main soucre of the film's wit. He will make any viewer remember that one oddball, yet gifted teacher that they have had. Like any teacher, he is committed to his student's success. As a result, we get these two true talents of acting elate in each others company and make a very memorable cinematic friendship. The three leads and the remainder of the cast, which include Michael Gambon, Guy Pearce and Timothy Spall, are all jewels on the crown of this outstanding British cast.
Everyone loves a good old underdog story. What makes David Seidler's screenplay so distinctive is that its main character is not your typical rags-to-riches underdog: it's a king. It's in that idea that the king is seen as an equal. The subjects need help from their leader, and he needs help from one of his subjects. More importantly, King George VI and Lionel don't just become equals. They become lifelong friends. Of course since it's based on a true story, we all know how it will end. It still doesn't mean that you won't get a bit teary-eyed when the king has his life-defining moment, in one of the most inspiring finales I've seen in a movie. This film has the trifecta of splendid filmmaking. The acting, directing, and writing all stand out. This is a film that reminded me of the classy dramas of Hollywood's golden age. It's a simple story told in a grand fashion. Long live the king.
Final grade: A
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