The King's Speech

The King's Speech

Directed by Tom Hopper; written by David Seidler. With: Colin Firth, Helena Bonham Carter, Geoffrey Rush, Guy Pearce, Claire Bloom, Derek Jacoby, Michael Gambon and Timothy Spall

 And the Oscar Goes to…

 Can a fact-based English period piece film be one of the cinematic pleasures of 2010? Just ask the exuberant viewers leaving the theaters showing ‘The King’s Speech.’ Far from being a stuffy historical drama, this film tells the very human, very engaging story of Prince Albert or ‘Bertie,’ (Colin Firth) who became King George VI and Lionel Logue, (Geoffrey Rush), his eccentric speech therapist.

Bertie is ashamed and humiliated because of a stammering problem. He gets little respect because of this disability and his inability to appear publicly. His wife, Elizabeth (Helena Bonham Carter), drags him from one speech therapist to another. One therapist tells Bertie that smoking would cure his problem; another has him stuff his mouth with marbles. Elizabeth insists he try one last specialist and takes him to Lionel Logue’s shabby office.

Logue is a failed Aussie Shakespearean actor, now a speech therapist, who believes that speech problems are often the result of psychological traumas as well as physical defects. Bertie wants none of this and is ready to give up.

It is the 1930s and Bertie’s father, King George V (Michael Gambon), is nearing the end of his life. The successor to his throne is Prince Edward, (Guy Pearce), Bertie’s older brother, who is not kingly material. He wants nothing to do with the royal responsibilities. Instead he is a Nazi- friendly dilettante besotted with the twice-divorced American Wallis Simpson. He abdicates the throne to marry her.

Now Bertie is to become king, and addressing the public is part of his job description. England is on the brink of World War II. He must rally the nation but he is terrified. The sessions with Lionel begin.

Watching the relationship of the stuttering Prince and the Aussie wannabe Shakespearean actor as they go at each is other is pure joy.  Each man is a misfit in his own way. We learn that as a child Bertie wore painful leg braces, was teased mercilessly by his brother and was abused by a sadistic nanny. Lionel wanted to be an actor but was continually rejected by directors. Both men are in need of a friend.

The acting in this test of wills between the two men is impeccable. Colin Firth makes us sense Bertie’s self loathing; we squirm as we watch him sputter and try to finish his sentences. Geoffrey Rush puts a twinkle in Lionel’s eye but his face also reflects the genuine concern he feels about Bertie’s speaking terrors. The chemistry between these two characters changes from initial hostility to an ever-deepening friendship.

Helena Bonham Carter does some of her best work as the supportive, and loving, but tough Elizabeth. Guy Pearce is right on target as the slick spoiled King Edward VIII who has no desire to carry out any royal responsibilities, focusing instead on Wallis Simpson, parties and champagne. All supporting roles are excellently portrayed with one little exception. Timothy Spall’s Winston Churchill, while amusing, borders on caricature.

Director Tom Hooper was actually influenced by the real life King George. As a child he also had a speech impediment and the King’s struggle with his own problem was inspiration for Hooper to get help. His film deals with a part of English history unknown to most people. King George overcame his speaking difficulties to become a powerful leader who showed grace under pressure. Lionel was always by his side during his broadcasts.

“The King’s Speech” is a very carefully made, inspirational and satisfying period piece

of unusual human depth.  And Rush and Firth’s acting is as good as it gets.. I predict that

there will be Oscar nominations aplenty.

Black Swan

Ballet as a Blood Sport

Directed by Darren Aronofsky; Written by Mark Heyman, Andre Heinz, and John L McLaughlin

With Natalie Portman, Vincent Cassel, Mila Kunis, Barbara Hershey and Winona Ryder

‘Black Swan’ isn’t a film about ballet. This intense and in-your-face film tells a bizarre story of ambition and a descent into madness. It takes place during the preparations for a New York performance of “Swan Lake.”As the soloist Nina, Natalie Portman gives the performance of her life. You literally can't take your eyes off her because director Darren Aronofsky (“The Wrestler,” “Requiem for a Dream”) fills the screen with giant close ups of her face, her toes, her hands, her body.

Nina is a hard-working perfectionist selected by artistic director Thomas Leroy (Vincent Cassel) to be both the white and black swans (Odette/Odile) in “Swan Lake.” She lives in a New York apartment with her overprotective mother (Barbara Hershey), a retired dancer who hovers over her, tucking Nina into bed each night after turning on a bedside music box with a ballerina on top.

You quickly learn all is not well with Nina when she starts to rip long strips of skin, first from her cuticles, then from her fingers. Or does she? The story is told from Nina's viewpoint, and Nina’s hold on reality is anything but secure. There are scenes of self mutilation, lesbian sex, drug overdoses, the word “whore” being written in lipstick on a bathroom mirror, toes being fused together, and so on. But it is left for you, the viewer, to figure out what is real and what is not.

Nina has a rival. Lily (Mila Kunis) is more spontaneous, more easy going than she. Nina is convinced that Lily is trying to steal her role in the ballet. Lily has tattoos of swan wings covering her back. At least that is what Nina sees. Lily is actually kind and encouraging,, but Nina's paranoia makes her see Lily as someone who wants to destroy her. She is panicked that Lily will replace her. And she acts accordingly.

Director Aronofsky clearly understands the behind-the-scenes preparations for the ballet, from controlled scenes of the company in rehearsal to its ravishing final performances. The obsessive perfectionism, rivalries, anorexia, and the brutal physical demands made on young bodies are the context of “Black Swan.” A hand-held camera zooms here and there, bobbing along with the dancers. You are in the middle of it all.

Natalie Portman gives a heroic performance. She did most dance sequences herself after months of exhausting five-hour-a-day practice sessions. Nina’s insecurities, her terrors, her hopefulness shape the features of her lovely face.

Vincent Cassel is perfect as the virile, pompous, domineering Artistic director. Barbara Hershey feels real as the smothering, but lovingly well-intentioned mother who is compelled to control her daughter. Mila Kunis does well as the light hearted and fun loving Lily. Winona Ryder performs her role as an ill-tempered demoted lead dancer with just the right amount of viciousness..

The film has an ominous aura throughout. Odd angles, darkened hallways, shadowy figures, shards of broken mirrors and trickles of blood keep the viewer on edge. Tchaikovsky’s score becomes more jarring as the story proceeds. To director Aronofsky ballet is every bit as savage as is the wrestling in his 2009 Oscar Nominated film “The Wrestler.”

“Black Swan” tells a totally gripping story about how a young woman’s quest for perfection unhinges her. And don’t forget Natalie Portman’s over- the- top performance. If you appreciate mind-blowing and bizarre entertainments, see “Black Swan.”  I promise you won’t be

Morning Glory

Morning Glory
Directed by Roger Mitchell; written by Aline Brush McKenna
With Rachel McAdams, Harrison Ford, Diane Keaton, Jeff Goldblum, and Patrick Wilson

  If you like your movies served light with lots of charm, a touch of romance, plenty of laughs and featuring actors you know and love, you will be very satisfied watching ‘Morning Glory.’ This is a tart but formulaic comedy geared to tug at your emotions and your funny bone, but offering few surprises along the way. Nonetheless it is worthy Hollywood entertainment.
The film begins as the very perky Becky Fuller(Rachel Mc Adams) is being downsized from her job as a producer at a New Jersey TV morning show. Not one to take a breather for even a moment, the determined Becky lands a job at the IBS Network. She manages to convince the skeptical Station Manager Jerry Barnes (Jeff Goldblum) to hire her to revitalize the studio’s understaffed and under-funded show Morning Glory. The show is a failure, its ratings abysmal, trailing way behind NBC, ABC and CBS.
  Becky begins by firing one of the co-hosts who happens to be a shoe fetishist and all around jerk.. She seeks to replace him with legendary Mike Pomeroy (Harrison Ford), a veteran news anchor who has won several Peabody awards, some Emmys and a Pulitzer. The arrogant Pomeory wants nothing to do with this type of mindless morning show, which focuses on recipes, celebrities, fashion and so on. However, because of a loophole in his contract with the IBS station, Pomeroy is strong armed into taking the job. He is not happy about it.
  Curmudgeon Pomeory hates everything, especially his co-host, Colleen Peck (Diane Keaton), an aging former Miss Arizona. Becky fares no better in his esteem. This job is beneath him, and he makes her life as unpleasant as possible.
  The hyper-caffeinated Becky hurries about, constantly on her Blackberry, doing everything in her power to get grumpy Pomeroy to be less dour and more engaging onscreen. He does not cooperate. The viewer knows that somehow things will work out. And they do.
  Director Roger Mitchell (Notting Hill, Enduring Love) has assembled an impressive cast. Rachel McAdams is a natural as the adorable but manic up-and-comer, obsessed with her job. Her role calls for her to be super perky and that she is. Almost as perky is Diane Keaton, the anchor who will do just about anything for laughs and for ratings. Harrison Ford is thoroughly believable as a surly, uncooperative and unhappy has- been.
  The film manages to portray the behind the scenes turmoil and split-second decisions needed in broadcasting. The pace is lickity-split. However, a contrived affair between Becky and co worker Adam Bennett (Patrick Wilson) is unnecessary and does nothing to enhance the film.. It feels as if it was added on so the movie could be called a ‘romantic comedy.’
  Should news programs have substance or should the news be entertainment? The morning shows (and much of TV) have been dumbed down to get ratings. Mike Pomeroy is from the old school where newscasters reported timely and serious events. This kind of newscaster has become an endangered species. “Morning Glory” does have something important to say about news as entertainment, but this message is concealed by its upbeat and witty script written strictly for laughs. It is an upbeat spoof of the TV news industry that has good performances by its leads, but little substance. Still, watching this film is a pleasant enough way to spend and hour and a half. See it if you are looking for some sit-com type of fun on the big screen.