Each year offers a great Colin Firth. This could be a new adage. Last year the British actor had grown quite ready to win a statuette for its beautiful composition in the no less formidable A Single Man Tom Ford. But such an assertion would be to ignore a career that has long hoquetée between turnips and first-rate supporting cast noticed. His performance at Ford does not erase the horrible Bridget Jones, Love Actually or The Last Legion but we remember the good memories of a talented actor who was the Valmont by Milos Forman in the early 90 ...
On the other hand, it should be for a Speech King deliver this performance in the overall context of the film. Colin Firth performer by King George VI, who faces a stuttering prevents him from speaking in public. His wife pushed him in the office of a therapist unorthodox to shove his royal certainties and become, over the years, his friend.
So here's a great story that should frighten the counters to the Oscars. Hooper does not really risk by adapting the play, following a chronological narrative father quiet and well ordered marked, devoid of any surprises. The script is so childish sometimes seems so formal classicism that happen almost a simplistic view of historical processes that surround the plot.
For beyond the encounter between these two men, there is a heavy historical context. The rise of Nazism and the entry into the war Britain. All this goes far, far away from Hooper's concerns, too concentrated to put in his box pretty great friendship. Suddenly, his film lacks cruelly deep historical and fades over the minutes.
It fades even more than some small things also become very irritating. The game outraged pooch and Helena Bonham Carter who made ladles, drowning his character in a Tim Burton outbid any particular side ... And then there Desplat's music, too heavy, old-fashioned and oppressive
All this leaves a somewhat mixed feelings in the end. The impression left by Firth and Rush, both of impeccable, and the dialogues, finely written, is counterbalanced by a serious lack of boldness that seems to bring the Films convolutions anachronistic, even archetypal. At bottom, far from offering a reading intriguing methods of speech or the complexity of power relations that stand between the two men, Hooper offers just a small story, a nice Fox and the Hound adult fun for the eyes but without much ambition.
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