The King’s Speech (Hooper, 2010)

King's Speech

Due to its distortive tendencies, the use of very wide angle lenses make further visible the disconnection of the king and his people. By stretching the image, Hooper foregrounds a talented Colin Firth, but does so at the cost of verisimilitude. Medium-close-ups place the actor immediately in the viewer’s presence, but the hallway-winding crane movements push the background into a fish-eyed blur. Hooper opts for a more visceral psychological expression of the King’s impediment, which he is unfortunately unable to realize due to his heavy-handed and often competing focus on plot elements and narrative arcs. The film’s aesthetic is made, rather clumsily, as unnatural as the King’s speech itself. As the film continues, neither the cinematic tropes nor the narrative developments offer much resolution or insight. Fortunately, the journey alone is admirable and makes it worth the watch.

71/100 – Good.

3 Stars


About Kamran Ahmed

I have a Masters in Cinema Studies from the University of Toronto. I work as a freelance writer and film critic in Vancouver. My writing is primarily distributed through Next Projection, an online film journal based in Toronto.
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