The King’s Speech is an impeccably made bit of crowd-pleasing, middlebrow entertainment, the cinematic equivalent of comfort food, albeit for the Anglophilic college graduate. That being said, I don’t want to suggest that this in any way means it’s not a smashing time at the movies. The King’s Speech is not challenging, daring cinema, but for what it is it couldn’t be much better.
At it’s heart, The King’s Speech is an old-fashioned buddy movie, odd-couple variety. One half is the Duke of York, second son to King George V, who is not expected to become king, and thankfully so, because he is afflicted with a stammer. On the other hand is Lionel Logue, an Australian immigrant and speech therapist, an eccentric who loves Shakespeare and has funny ideas about how to cure his patients.
After seeing several official, knighted doctors, the Duke (known as Bertie to his family), sees Logue, after his patient wife Elizabeth arranges it. Of course they are like chalk and cheese at first, as Logue insists on calling each other by first names (something the Duke does not care for). But of course Logue gets results, and soon they are working together well. But when Bertie’s brother, who becomes king upon the death of their father, insists on marrying a divorced woman, a distinct no-no, the stakes are suddenly much higher.
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