Even those who do not go in cerca di titoli storici può apprezzare Il discorso del re : non è un film in costume, non è un'ambientazione posticcia nelle tanto celebrate quinte della corona inglese. Tom Hooper firma, in questo caso, un piccolo capolavoro di cinematografia moderna, spalleggiato da eccellenti attori, da una sapientissima sceneggiatura ( David Seidler ) e da una fotografia ( Danny Cohen ) davvero fuori classe. Il discorso a cui si riferisce il titolo è quello con il quale il re , Giorgio VI, nel 1939 comunica all'Inghilterra l'inizio delle ostilità con la Germania in seguito all'invasione Poland. Tom Hooper's film lingers long sull'imbarazzante stuttering of the future monarch, to the coronation, and the sufferings of a family who can not keep up with its rules and its obligations and the expectations of a pious people.
But I find no evil or annoying insistence on the screenplay by David Seidler: I'm not saying that there is a broad objective or some aseptic likelihood. It King's speech stand out, above all, a wonderful narrative vein, making a supreme justice ancestral vein English drama, and visual care outside of the town, with a couple of scenes (the fight in the park and the very short dialogue that follows between the speech and wife) who, without wishing to seek originality at all costs, seem to me of pure visual pleasure.
King's speech is clear evidence that a healthy and cohesive genius craftsmanship gives more space than it can gain some insight on the whim of anarchic and unexpected. Dialogues fresh and balanced, full of grace, irony, full of meaning and sottosensi games, players and looks sensational, race, which reconciled with the star system junkie prizes and festivals. Rarely, as in this case I would say that a movie deserves all the nominations that they were awarded. The two players vying for time at the scene and it is difficult to prefer the ever-changing yet minimal and intense expression of George VI Colin Firth or Lionel Logue elegant and deep, sincere and boundless humanity, Geoffrey Rush . And, although I have an instinctive and irrepressible fondness for the latter, moves me even more of a ' Helena Bonham Carter amazing, that is recited in the roles of husband Tim Burton film, but recognizable in his tics and its looks.
Rather, the problem is that the leading roles are assigned to interpreters is available to each his own crop scena fin quasi a fare di ciascuna di esse un vero e proprio cammeo. Passi anche per l'ottuso arcivescovo Lang di Derek Jakobi , da cui certo non ci si attendeva certo una prova da dilettante; ma anche Guy Pearce (nei panni di David, l'erede al trono che abdica), Jennifer Ehle (la bellissima moglie del logopedista) e Timothy Spall (un impressionante Winston Churchill) primeggiano nelle loro scene, strappando un posto nella memoria dello spettatore. Tra tutte, ricorderò la scena in cui Myrtle Logue scopre di avere in casa niente di meno che Sua Altezza Re d'Inghilterra e la sua consorte e li invita a cena: in un rimbalzo di voices, colors, characters, emotions, the scene runs with skill and elegance as a dance, leaving (at least to me) a sudden sense of well being and good humor, and tension before the final sprint. And, if you know other reasons and other interests, it's nice to believe a man who could outdo with such tenacity, a man who believes in the Kingdom, and maybe even the Empire in his people.
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