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THE GREEN HORNET 3D PG13
SPECIAL EVENT PRICING: $3.00
UPCHARGE ALL TICKETS1:45, 4:35,
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THE GREEN HORNET PG13
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SEASON OF THE WITCH PG13
11:50, 2:20, 4:50, 7:20, 9:50
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TRUE GRIT (PG-13) Fri. - Sun.(1135 210) 450 730 925 1015
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THE KING’S SPEECH: Directed by Tom
Hooper. Written by David Seidler. Cinematography,
Danny Cohen. Music, Alexandre Desplat. Starring
Colin Firth, Geoffrey Rush, Helena Bonham Carter
, Guy Pearce, Derek Jacobi and Michael Gambon.
The Weinstein Company, 2010. R. 118 minutes.
44441
I
magine on the one hand being a
lifelong stutterer, a person who can’t
say “person” without tripping over
his tongue, while at the same time being
occupationally required to address people
by the millions. Such was the dilemma
of Albert, Duke of York, who abruptly
ascended to the British throne in 1936 as
King George VI. In the new fi lm starring
Colin Firth as Albert, this verbal tic is
referred to colloquially as a stammer,
but Firth’s performance is so effective at
isolating the pain from the speech defect
that it seems more like a seizure in his
throat.
After a series of embarrassing early
public addresses, Albert’s wife Elizabeth
(Helena Bonham Carter) approaches
Lionel Logue (Geoffrey Rush) for help.
Talk about a last resort: While Albert has
already been subjected to treatments such
as cigarettes and sucking on marbles,
such quackery at least came shrouded in
decorum. Lionel, by contrast, immediately
refers to the Duke as “Bertie,” his private
family nickname, and before long makes
the treasonous suggestion that Bertie, not
his elder brother David (Guy Pearce), is
the more fi t for the soon-to-be-available
throne. Lionel is an impresario — “my
castle, my rules,” he says of his studio —
whose intent is to drive out the stammer
by digging into Albert’s underlying hurt, a
course of treatment to which the monarch-
in-waiting is overwhelmingly opposed.
So begins the thrust-and-parry action
of the primary relationship in The King’s
Speech, a snappy, pert and intelligent fi lm
that, while sometimes pat, tells a small
story exceedingly well. The fi lm is to be
enjoyed both for the impossibility of its
central relationship — a pauper essentially
becomes a confi dant to a king — as well as
the top-notch performances evoking their
incredible true story. Lionel, an eccentric
and overlooked fi gure at home, brings his
corrective powers to bear on the leader of
the free world, who can’t fi nish a sentence
without appearing to choke. If there’s little
doubt that by the time of Albert’s 1939
wartime address, he’ll be cured of his
tongue-tying ways, there’s still a great deal
of fun in watching a fi lm as organized and
lavish as The King’s Speech.
While Firth gives arguably the
year’s best performance for the second
consecutive year (last year in A Single
Man), Rush’s Lionel, while requiring less
fl ourish than Firth’s Albert, is the emotional
authority at work in The King’s Speech.
Rush’s voice has deepened into an almost
perfect instrument, calling to mind Tommy
Lee Jones, and like Jones, Rush’s face is
a craggy monument to the long-suffering
underdog. The surprise treat of King’s
Speech is the return of Helena Bonham
Carter, who emerges from whatever acting
gulag she removes to when not doing
Harry Potter or Tim Burton fi lms with a
curt and spirited performance as Elizabeth.
Carter’s career, once unpredictable, has
lately followed the same downward
trajectory of Burton, which might make
sense, given that the two are now married.
The King’s Speech isn’t revolutionary. It
moves in very narrow arcs, delivering a cute
and dependable (rather than devastating or
surprising) entertainment that shouldn’t be
missed. Director Tom Hooper (the John
Adams miniseries) elevates the historical
drama genre, masterfully evoking the
era of early radio (or, in the parlance of
the times, the “wireless”) by focusing on
the wariness and distrust with which the
monarchy approached the microphone.
To overcome this, Lionel urges the newly
anointed king that when speaking publicly,
“pauses add solemnity,” to which the king
replies, “I’m now the solemnest king who
ever lived.”
ew
THE DILEMMA - DP (PG-13) ★
Fri. - Sun.400 PM 715 PM 950 PM
THE KING'S SPEECH (R) - ID REQ'D
Fri. - Sun.(120) 415 700 945
BLACK SWAN - DP (R) - ID REQ'D
Fri. - Sun.(110 345) 645 930
HARRY POTTER AND THE DEATHLY HALLOWS 1 (PG-13)
Fri. - Sun.(1245 350) 655 1000
Times For 01/14 - 01/16 © 2011
26 JANUARY 13, 2011
EUGENE WEEKLY
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