the king's speech parents guide

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The King's Speech | 2010 | R | - 1.1.6

SEX/NUDITY 1 - A man talks about his adult son having sex with married women. A man says, "I have never had immoral relations." A man talks about himself and his brother "chasing the same girl." A man makes a remark about "fooling around with a mistress." ►  A woman wears a halter-top that reveals cleavage and bare shoulders.

VIOLENCE/GORE 1 - A man is shown dead after an illness, another man closes his eyes and other people grieve in the room. ►  Two men argue in several scenes and one argument ends with one man storming out. A man stammers while trying to read a speech and another man yells at him. A man puts 7 marbles in his mouth and tries to speak, his face turns red and he storms out of the room. Two men and a woman have arguments about the etiquette required for royalty. ►  A man stands before many people in a stadium and struggles to speak into a microphone; he stammers and cannot get the words out. A young boy stammers while welcoming a man and a woman. ►  We hear an announcement that England is at war. A man talks about his nanny hating him when he was a young boy and that she would not feed him. We hear that a boy died at the age of 13. During speech therapy sessions a man frequently employs the use of obscene language to replace pauses when he would normally stammer instead. A man talks about having to wear metal braces on his legs because he was knock-kneed and the treatment was very painful. A man talks about having to write with his right hand even though he is left handed. ►  A man is very ill and appears confused and afraid. We hear air raid sirens blaring and people line up at shelters.

LANGUAGE 6 - About 12 F-words, 1 sexual reference, 12 scatological terms, 4 anatomical terms, 4 mild obscenities, exclamations (bloody), name-calling (coward, egg-head, peculiar, buggars, mad, bravery), 1 religious exclamation.

SUBSTANCE USE - Men and women drink alcohol and smoke cigarettes at a party, two men smoke cigarettes and drink alcohol, a man talks about his father being a brewer and that they always had free beer, and two men drink alcohol. A man smokes cigarettes in many scenes throughout the movie and another man encourages him to do so since he says it will relax his throat, while in a different scene another man tells him that smoking will kill him, and a man tries to light a cigarette and another man takes it out of his mouth.

DISCUSSION TOPICS - Speech impediments, the advent of radio, royalty, royal ceremonies, death of a father, death of a king, fear, trust, friendship, love, the Church of England, speech therapy, divorce, infidelity, left-handedness, epilepsy, pneumonia, rights, privilege, appreciation, Pandora's Box, Hitler, world war.

MESSAGE - A lot of hard work can get you through some of the most difficult obstacles.

Be aware that while we do our best to avoid spoilers it is impossible to disguise all details and some may reveal crucial plot elements.

We've gone through several editorial changes since we started covering films in 1992 and older reviews are not as complete & accurate as recent ones; we plan to revisit and correct older reviews as resources and time permits.

Our ratings and reviews are based on the theatrically-released versions of films; on video there are often Unrated , Special , Director's Cut or Extended versions, (usually accurately labelled but sometimes mislabeled) released that contain additional content, which we did not review.

REVIEWS See ratings & reviews at Critics.com

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THE ASSIGNED NUMBERS Unlike the MPAA we do not assign one inscrutable rating based on age but 3 objective ratings for SEX/NUDITY , VIOLENCE/GORE & LANGUAGE on a scale of 0 to 10, from lowest to highest depending on quantity & context | more |

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The King’s Speech Parent Guide

Audiences of all ages could benefit from watching this timid man attempting to conquer his worst fears..

One of the biggest impediments to George VI (Colin Firth) performing his royal duties is a stutter, so the skills of a therapist named Lionel Logue (Geoffrey Rush) are sought to assist in improving The King's Speech.

Release date December 22, 2010

Run Time: 119 minutes

Official Movie Site

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The guide to our grades, parent movie review by donna gustafson.

What would you do if you were being considered for a high profile job that required a lot of public presenting, but you had a speech impediment? Chances are you’d politely turn down the opportunity. However, for Albert Frederick Arthur George of the House of Windsor (played by Colin Firth), bowing out simply isn’t an option.

Born the second son of King George V of England (Michael Gambon), His Royal Highness The Duke of York never expected to sit on the throne. Yet the unwanted prospect of wearing the crown becomes increasingly likely as his father’s health falters and his older brother Edward (Guy Pearce) insists on pursuing a romantic relationship with Wallis Simpson (Eve Best). The American divorcée does not meet the approval of the British parliament, so the Heir Apparent will be forced to abdicate his royal right to reign if he decides to marry her. Meanwhile, the winds of war are beginning to blow again over Europe as Nazi Germany rises in power.

Unlike the experts the Duke has seen in the past, who have advised everything from filling his mouth with marbles to smoking cigarettes to relax his vocal cords, Lionel takes a very different approach. Along with insisting they work on a first name basis (he calls His Royal Highness “Bertie”—a moniker reserved only for use by the closest of family members), he also employs loud music and wagers of inconsequential sums of money. His most revolutionary suggestion however is rooting out the issue by looking for its possible psychological causes.

With a classic “stiff upper lip” the Johnsons decline any probing into their personal lives, preferring to stick to the mechanics of elocution. While Lionel is willing to concentrate on physical techniques and exercises, from experience he knows making any real progress will be unlikely until these personal aspects are addressed.

Family audiences may be confused by the Restricted rating awarded this historical drama by the MPAA (Motion Picture Association of America). The concerns arise when Lionel encourages the tongue-tied Prince to let loose a litany of curses, because people seldom stammer while swearing. This unconventional treatment plan results in the repeated utterance of many mild, moderate and extreme profanities, including numerous uses of a sexual expletive. Similar cussing is heard again in a later scene.

Such foul language is regrettable because there is little other objectionable content, except depictions of smoking and references to immoral behavior. Audiences of all ages could benefit from watching this timid man attempting to conquer his worst fears. Although individual struggles may vary, the story of the shy soul who goes on to become King George VI of England speaks volumes about what can be achieved when a person has the love and support of some strong allies.

About author

Donna Gustafson

Watch the trailer for the king’s speech.

The King’s Speech Rating & Content Info

Why is The King’s Speech rated R? The King’s Speech is rated R by the MPAA for some language.

Violence: Child neglect/abuse is mentioned.

Sexual Content: A man’s sexual relationship with a married woman is discussed. A man makes obscure sexual comments to a woman on the phone. References are made about a woman’s sexual skills.

Language: Infrequent use of mild and moderate profanities throughout. Two scenes include the repeated use of an extreme sexual expletive, along with other scatological terms and expletives.

Drugs and Alcohol: Frequent depictions of smoking. Some experts recommend smoking to relax vocal cords, while another claims it is unhealthy. Alcohol is drunk in social settings.

Page last updated May 9, 2020

The King’s Speech Parents' Guide

Click here to learn more about King George VI.

What kind of relationship did The Duke of York have with his father and his brother? How did that affect him? What kind of relationship does he have with his wife? How does that impact his confidence?

Lionel says that babies are not born with speech impediments. What kinds of things does he attribute to causing stuttering problems? What things from your past might be contributing to present day troubles? How can you address such issues?

Loved this movie? Try these books…

To learn more about King George VI, Sarah Bradfords biography "George VI" is a good place to start. Children might enjoy "The Mouth With a Mind of Its Own" by Patricia L. Mervine, about a boy named Matthew who struggles to make himself understood until he starts attending speech therapy.

The most recent home video release of The King’s Speech movie is April 19, 2011. Here are some details…

The King’s Speech release to DVD and Blu-ray on April 19, 2011, with the following bonus extras:

- Audio Commentary

- Making Of Featurette

- Deleted Scenes

Related home video titles:

British royalty have been the subject of many movie scripts including The Young Victoria (who was King George VI Great Grandmother) , The Queen (about Elizabeth II, his daughter) , and Elizabeth: The Golden Age (a relative to both himself and his wife) .

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• Cast & crew
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The King's Speech

The story of King George VI, his unexpected ascension to the throne of the British Empire in 1936, and the speech therapist who helped the unsure monarch overcome his stammer. The story of King George VI, his unexpected ascension to the throne of the British Empire in 1936, and the speech therapist who helped the unsure monarch overcome his stammer. The story of King George VI, his unexpected ascension to the throne of the British Empire in 1936, and the speech therapist who helped the unsure monarch overcome his stammer.

• David Seidler
• Colin Firth
• Geoffrey Rush
• Helena Bonham Carter
• 827 User reviews
• 486 Critic reviews
• 88 Metascore
• 108 wins & 206 nominations total

• King George VI

• Lionel Logue

• Queen Elizabeth

• Archbishop Cosmo Lang

• Private Secretary

• BBC Radio Announcer

• Robert Wood

• BBC Technician

• Dr. Blandine Bentham

• Laurie Logue

• Myrtle Logue

• Valentine Logue
• Anthony Logue

• Princess Elizabeth

• Princess Margaret

• Theatre Director
• All cast & crew
• Production, box office & more at IMDbPro

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Did you know

• Trivia Nine weeks before filming began, Lionel Logue's grandson, Mark Logue , discovered a large box in his attic that contained his grandfather's personal papers. The box held Lionel Logue's diary, his appointment book, notes from his speech therapy sessions with King George VI , and over 100 personal letters to Logue from the King. It also contained what is believed to be the actual copy of the speech used by George VI in his 1939 radio broadcast announcing the declaration of war with Germany. Mark Logue turned his grandfather's papers, letters, and diary over to director Tom Hooper and screenwriter David Seidler , who used them to flesh out the relationship between Logue and the King. Geoffrey Rush and Colin Firth also read through the material for insight into their characters. The exchange in this movie between Logue and King George VI following his radio speech ("You still stammered on the 'W'." / "Well, I had to throw in a few so they knew it was me.") was taken directly from Logue's diary. Firth insisted that it should be included in the movie.
• Goofs In the final speech, King George VI has one blue eye and one brown eye. Colin Firth had lost a contact lens.

King George VI : All that... work... down the drain. My own... b... brother, I couldn't say a single w-word to him in reply.

Lionel Logue : Why do you stammer so much more with David than you ever do with me?

King George VI : 'Cos you're b... bloody well paid to listen.

Lionel Logue : Bertie, I'm not a geisha girl.

King George VI : Stop trying to be so bloody clever.

Lionel Logue : What is it about David that stops you speaking?

King George VI : What is it about you that bloody well makes you want to go on about it the whole bloody time?

Lionel Logue : Vulgar, but fluent; you don't stammer when you swear.

King George VI : Oh, bugger off!

Lionel Logue : Is that the best you can do?

King George VI : [like an elocution lesson] Well... bloody bugger to you, you beastly bastard.

Lionel Logue : Oh, a public school prig could do better than that.

King George VI : Shit. Shit, shit, shit, shit, shit, shit, shit, shit, shit, shit, shit, shit!

Lionel Logue : Yes!

King George VI : Shit!

Lionel Logue : Defecation flows trippingly from the tongue!

King George VI : Because I'm angry!

Lionel Logue : Do you know the f-word?

King George VI : F... f... fornication?

Lionel Logue : Oh, Bertie.

King George VI : Fuck. Fuck! Fuck, fuck, fuck and fuck! Fuck, fuck and bugger! Bugger, bugger, buggerty buggerty buggerty, fuck, fuck, arse!

Lionel Logue : Yes...

King George VI : Balls, balls...

Lionel Logue : ...you see, not a hesitation!

King George VI : ...fuckity, shit, shit, fuck and willy. Willy, shit and fuck and... tits.

• Crazy credits In the end credit roll, Philip Clements is listed twice as Assistant Sound Editor.
• Connections Featured in Breakfast: Episode dated 22 October 2010 (2010)
• Soundtracks Le nozze di Figaro Overture Written by Wolfgang Amadeus Mozart [During the first therapy session when King's voice is being recorded]

User reviews 827

• Jan 12, 2011
• Just what time frame are we talking about here?
• What causes Bertie's stammer?
• Why couldn't King Edward marry Wallis Simpson?
• December 25, 2010 (United States)
• United States
• United Kingdom
• Official Site
• Nhà Vua Nói Lắp
• Elland Road Football Stadium, Elland Road, Beeston, Leeds, West Yorkshire, England, UK (as Wembley Stadium at start of film)
• The Weinstein Company
• UK Film Council
• Momentum Pictures
• See more company credits at IMDbPro
• $15,000,000 (estimated)
• $138,797,449
• Nov 28, 2010
• $484,068,861

Technical specs

• Runtime 1 hour 58 minutes
• Dolby Digital

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"The King's Speech" tells the story of a man compelled to speak to the world with a stammer. It must be painful enough for one who stammers to speak to another person. To face a radio microphone and know the British Empire is listening must be terrifying. At the time of the speech mentioned in this title, a quarter of the Earth's population was in the Empire, and of course much of North America, Europe, Africa and Asia would be listening — and with particular attention, Germany.

The king was George VI. The year was 1939. Britain was entering into war with Germany. His listeners required firmness, clarity and resolve, not stammers punctuated with tortured silences. This was a man who never wanted to be king. After the death of his father, the throne was to pass to his brother Edward. But Edward renounced the throne "in order to marry the woman I love," and the duty fell to Prince Albert, who had struggled with his speech from an early age.

In "The King's Speech," director Tom Hooper opens on Albert ( Colin Firth ), attempting to open the British Empire Exhibition in 1925. Before a crowded arena and a radio audience, he seizes up in agony in efforts to make the words come out right. His father, George V ( Michael Gambon ), has always considered "Bertie" superior to Edward ( Guy Pearce ), but mourns the introduction of radio and newsreels, which require a monarch to be seen and heard on public occasions.

At that 1925 speech, we see Bertie's wife, Elizabeth (Helena Bonham Carter), her face filled with sympathy. As it becomes clear that Edward's obsession with Wallis Simpson (Eve Best) is incurable, she realizes her Bertie may face more public humiliation. He sees various speech therapists, one of whom tries the old marbles-in-the-mouth routine first recommended by Demosthenes. Nothing works, and then she seeks out a failed Australian actor named Lionel Logue ( Geoffrey Rush ), who has set up a speech therapy practice.

Logue doesn't realize at first who is consulting him. And one of the subjects of the film is Logue's attitude toward royalty, which I suspect is not untypical of Australians; he suggests to Albert that they get on a first-name basis. Albert has been raised within the bell jar of the monarchy and objects to such treatment, not because he has an elevated opinion of himself but because, well, it just isn't done. But Logue realizes that if he is to become the king's therapist, he must first become his friend.

If the British monarchy is good for nothing else, it's superb at producing the subjects of films. "The King's Speech," rich in period detail and meticulous class distinctions, largely sidesteps the story that loomed over this whole period, Edward's startling decision to give up the crown to marry a woman who was already divorced three times. Indeed, the Duke and Duchess of Windsor (as they became) would occupy an inexplicable volume of attention for years, considering they had no significance after the Duke's abdication. The unsavory thing is that Wallis Simpson considered herself worthy of such a sacrifice from the man she allegedly loved. This film finds a more interesting story about better people; Americans, who aren't always expert on British royalty, may not necessarily realize that Albert and wife Elizabeth were the parents of Queen Elizabeth II. God knows what Edward might have fathered.

Director Tom Hooper makes an interesting decision with his sets and visuals. The movie is largely shot in interiors, and most of those spaces are long and narrow. That's unusual in historical dramas, which emphasize sweep and majesty and so on. Here we have long corridors, a deep and narrow master control room for the BBC, rooms that seem peculiarly oblong. I suspect he may be evoking the narrow, constricting walls of Albert's throat as he struggles to get words out.

The film largely involves the actors Colin Firth, formal and decent, and Geoffrey Rush, large and expansive, in psychological struggle. Helena Bonham Carter, who can be merciless (as in the "Harry Potter" films), is here filled with mercy, tact and love for her husband; this is the woman who became the much-loved Queen Mother of our lifetimes, dying in 2002 at 101. As the men have a struggle of wills, she tries to smooth things (and raise her girls Elizabeth and Margaret). And in the wider sphere, Hitler takes power, war comes closer, Mrs. Simpson wreaks havoc, and the dreaded day approaches when Bertie, as George VI, will have to speak to the world and declare war.

Hooper's handling of that fraught scene is masterful. Firth internalizes his tension and keeps the required stiff upper lip, but his staff and household are terrified on his behalf as he marches toward a microphone as if it is a guillotine. It is the one scene in the film that must work, and it does, and its emotional impact is surprisingly strong. At the end, what we have here is a superior historical drama and a powerful personal one. And two opposites who remain friends for the rest of their lives.

Note: The R rating refers to Logue's use of vulgarity. It is utterly inexplicable. This is an excellent film for teenagers.

Roger Ebert

Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013. In 1975, he won the Pulitzer Prize for distinguished criticism.

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Film credits.

The King's Speech (2010)

Rated R for language

118 minutes

Directed by

• David Seidler

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The King’s Speech

Content caution.

In Theaters

• November 26, 2010
• Colin Firth as Prince Albert/King George VI); Geoffrey Rush as Lionel Logue; Helena Bonham Carter as Queen Elizabeth; Guy Pearce as Prince David/King Edward VIII); Michael Gambon as King George V; Timothy Spall as Winston Churchill; Jennifer Ehle as Myrtle Logue; Derek Jacobi as Archbishop of Canterbury; Anthony Andrews as Prime Minister Stanley Baldwin; Eve Best as Wallis Simpson

Home Release Date

• April 19, 2011

Distributor

• The Weinstein Company

Movie Review

Living life without being able to speak easily and fluently is more than just a mere trial. Relaying even the simplest thought is grueling—as well as frustrating and sometimes embarrassing. Well-meaning but patronizing family members offer all manner of useless advice regarding elocution. Speech therapists fill your mouth with marbles and then command you to speak clearly. Telling your children a simple bedtime story is a verbal obstacle course. The thought of standing in front of a microphone summons sheer terror.

And if you are a king, called upon to bolster and unite a fearful nation in the face of war, well, then, the stakes are more than just ease of communication. They are life and death.

His Royal Highness King George VI found himself in this exact position. A stammerer since childhood, no one—least of whom himself—had confidence in his ability to lead the British Empire after his elder brother, David (later King Edward VIII) scandalously abdicated the throne in order to marry American divorcée Wallis Simpson.

But before King George VI becomes king, he is “merely” Prince Albert, father of Elizabeth II (the current queen of England) and husband to Elizabeth, the beloved and now deceased queen mother. In 1925, after Albert’s devastatingly awkward public address to the British Empire Exhibition—if stuttering a few syllables can be considered an address—his wife seeks help from an unlikely source: Lionel Logue.

An eccentric, unemployed Australian actor informally trained in elocution, Lionel is unwaveringly confident in his unorthodox treatments for stuttering. He boldly tells Elizabeth that he will treat Albert only on his turf and by his rules. And by demanding total equality with Albert—whom he even calls Bertie, as the prince’s family members do—Lionel introduces the stuffy royal to the common man’s common life.

The two gradually become friends. Their decades-long relationship produces not only a more confident monarch and better speeches for the British Empire, but a deep camaraderie that helps Albert begin to understand himself and the people he’s leading. And Lionel not only helps the repressed future king find his personal voice, he helps him to speak like a monarch who has a right to be heard.

Positive Elements

Lionel and Albert dearly love their respective wives and children, and Elizabeth is steadfast in her commitment to and love for Albert. She is his comforter, champion and friend who never reveals her own subtle doubts that he will overcome his stammer.

Albert is far more politically and morally discerning than David, and takes the royal family’s duties seriously. He scolds David for his poor leadership on more than one occasion. Hardworking Albert is also tireless in performing the speech exercises Lionel suggests. He continually works to better his speech and prepare for possible kingship even when his personal life is in turmoil. And though he may not always understand the people he will govern, he is determined to lead them well.

Lionel encourages Albert to dig deeply into his lonely childhood memories, thus exposing abuses the prince suffered at the hands of indifferent nannies and frosty, Victorian-era parents. Lionel also offers the future king genuine, unaffected friendship—for perhaps the first time in the royal’s life. He compassionately sees Albert as an emotionally broken but valiant man with tremendous potential for greatness. Lionel, in fact, cares for all his “patients” with the same kindness and dedication.

As a result of his harsh childhood and stammering, Albert has lived in fear most of his life. Lionel tells him there’s hope—that he doesn’t have to be afraid of the things that haunted him when he was young—and that he’s a friend who will always listen.

Spiritual Elements

Mostly stock, cultural expressions: Albert’s father, King George V, says “God bless you” during a Christmas speech. Posters are emblazoned with “God save the king.” God is mentioned during a coronation. Albert publicly announces that Great Britain must commit its wartime cause to God.

As head of the Anglican Church, the king of England is not allowed to marry a divorcée—but David does so anyway, raising the eyebrows and ire of many countrymen.

Sexual Content

David and the twice-divorced Wallis scandalize the world with their love affair. (None of their intimacy is shown, and the phrases “expert ministrations” and “certain skills” stand in for frank descriptions of why David is attracted to her.) Albert tells Lionel of a girl whom he and David pursued in their youth, and dialogue subtly implies that both had sex with her on separate occasions.

Wallis wears a dress with a plunging back. Crude language is used for male genitalia and women’s breasts. Couples kiss.

Violent Content

Prone to fits of temper, Albert yells—especially at Lionel—several times. The threat of war (conveyed via newsreels of Hitler’s zeppelins and marching troops) hangs in the air.

Crude or Profane Language

Close to 20 each of f- and s-words. Christ’s name is abused twice, and God’s is misused at least once. The British crudity “bloody” is used more than a dozen times. Another British profanity, “b-gger,” is used about 10. There’s a handful each of the words “d‑‑n,” “b‑‑tard,” “a‑‑” and “h‑‑‑.” Crude slang is used for sexual anatomy (“t-ts,” “pr–k,” “balls” and “willie”).

Drug and Alcohol Content

People smoke cigarettes and cigars. Of note is that while doctors say the smoke is good for vocal cords, Lionel insists it’s toxic. Alcohol is served at a cocktail party as well as at Lionel’s home. Albert asks for liquor, and Lionel offers him a second drink, presumably to loosen up the ultra-formal royal.

Other Negative Elements

Edward VIII (David) and Wallis are sympathetic toward Hitler, whom they admire. And so, deeply concerned British politicians don’t know which way the monarch will lean politically. Their negative perception of him is strengthened by the fact that before and during his brief reign, David is irresponsible in his duties.

Frightened by the prospect of being crowned king and resentful of Lionel’s informality, Albert pulls rank, harshly and arrogantly calling Logue the disappointing “nobody” son of a brewer. Albert’s younger brother Johnny, who died as a youth, was born “different,” and was hidden away from public view as a result. Albert’s nanny is said to have withheld affection and food from him when he was young—and his parents didn’t notice for three years.

How often have we awkwardly looked away from other people’s disabilities, unable to face their agonizing struggle to accomplish what average folks do with ease?

In The King’s Speech , an entire empire looks away from Albert and his excruciating stutter. Yet he speaks to an audience that is just as fearful as he. When the certainty of a dark and vicious war—and its uncertain outcome—overshadows Great Britain, the nation longs for a leader who will competently guide and encourage citizens to victory. And because they’re not certain Albert is up to the task, we feel their agony just as deeply as we feel his when, at times, he labors to utter even a single word.

People are ashamed for him. Embarrassed because of him. And yet they simultaneously have their fingers crossed for him because he is their only hope.

Today we have the comfort of the historical record. We know how the story ends. The actual King George VI did indeed have a stutter (though its severity is debatable), and overcame enough of his oral issues to address his people with only periodic hesitations. But he never fully overcame his impediment, just as the onscreen king doesn’t. Instead, he faced it, tackling his limitations with Lionel’s help and encouragement. Perhaps the fact that Albert is never completely cured is the most inspiring reminder that courage rarely comes in the absence of fear or weakness. Courage is action in the face of these things, and the elder King George says Albert has more bravery than all of his brothers combined. Lionel agrees and helps Albert to see it too. So much so that the once ineffective King George VI becomes a national symbol of pride and wartime resistance during World War II.

This touching, masterfully acted and subtly comedic film could easily have been PG-rated, making its stirring message readily available for teens and families hungry for an inspiring life lesson devoted to clawing one’s way past shortcomings and limitations. Instead, director Tom Hooper opted for a profanity-laden R rating. Several times Albert angrily blurts out long streams of curse words during speech therapy, since the only times he doesn’t stutter are when he sings and when he swears.

Regarding the foul language and its resulting rating, star Colin Firth told The National Post , “This isn’t a non-issue. I get that people don’t want their small children hearing these strong words—I don’t like them. … I don’t want my kids thinking it’s a good way to use language—language is more beautiful than that. It should be more thought about than that. It has more power than that. That’s lazy and ugly—but that’s not the case in this movie. [The foul language usage is] not vicious, it’s not sexual, and it’s not lazy—it’s anything but. These are tools, these forbidden words have become momentary tools to get a guy to break out of extreme repression. Then he immediately gets rather sheepish and apologizes. There couldn’t be a more harmless context. It doesn’t teach your kids to sprinkle your language with these words or direct them against people. I would hate to deny kids in that age bracket, or discourage them from seeing a film which has so much to say to people that age.”

Firth continues, “As far as the rest of public opinion is concerned, certainly in our industry, I’d be kicking in a door. Because everyone seems to be in harmony on the subject.”

While many will see his point, not everyone is in harmony. Context , when it comes to obscenity, is not the end of the discussion for most families. Surely it’s fair to ask why a movie of this caliber must be first edited (by way of an airline, a TV network or a ClearPlay machine) before the very kids Firth wants to see influenced can reasonably encounter it.

A postscript: The Weinstein Company initially sued the MPAA for assigning The King’s Speech an R rating, arguing that, in fact, context was the end of the discussion. “While we respect the MPAA,” said owner Harvey Weinstein, “I think we can all agree that we are living with an outdated ratings system that gives torture porn, horror and ultraviolent films the same rating as films with so-called inappropriate language.”

After the film won Best Picture, among other Oscars, at the 2011 Academy Awards, Weinstein decided to make a few changes to the film’s language, at least enough to secure a PG-13 rating for a a new version. A statement from the studio declared that the new “family-friendly version” was created for “those to whom it speaks most directly—young people who are troubled by stuttering, bullying and similar trials.” The decision was met with instant derision from the film’s star. “I don’t support it,” said Colin Firth, who won a Best Actor award for his role as the king. “I think the film has its integrity as it stands. I’m not someone who’s casual about that kind of language. I take my children to [soccer] games. I hate hearing that kind of language in their ears, but I won’t deny them the experience of a live game. … I still haven’t met the person who’d object to it.”

Be that as it may, the changes, for many moviegoing families, will go unnoticed because the expletives in question haven’t been muted or bleeped, they’ve merely been replaced with other expletives. Specifically, the long series of f-words that the king blurts out is now a long series of s-words. And one full f-word remains intact at the outset of the outburst.

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The King's Speech – review

S ome films are known as "game-changers". This is not one of those films. It is a don't-change-the-game-er, or yet a jolly-well-change-it-back-er: a traditionally mounted, handsomely furnished British period movie, available at a cinema near you in dead-level 2D. Set in the 1920s and 30s, it is populated by that sort of well-suited patrician Englishman of yesteryear who drinks spirits in the middle of the day, whose middle and index fingers are rarely to be seen without an elegant cigarette interposed, and who pronounces the word "promise" as "plwomise" (try it).

Written by David Seidler and directed by Tom Hooper, The King's Speech is a richly enjoyable, instantly absorbing true-life drama about the morganatic bromance between introverted stammerer King George VI and his exuberant Australian speech therapist Lionel Logue: an affair brokered by George's shrewd wife in her pre-Queen-Mum incarnations as the Duchess of York, and then Queen Elizabeth. These characters are performed with pure theatrical gusto by Colin Firth as the miserably afflicted monarch, Geoffrey Rush as the twinkly eyed speech coach and Helena Bonham Carter as the Queen who has to learn to like Logue by overcoming her own snobbery – which she incidentally never troubles to disguise as shyness.

As well as this, the movie is an intriguing, if slightly loaded new perspective on the abdication crisis of 1936. Above all, it's a smart anti-Pygmalion. Like Shaw's Eliza Doolittle, the poor King as a younger man is forced to speak with his mouth full of marbles, and comes close to Eliza's fate of swallowing one.

But where she had to smarten up and talk proper, George VI (formerly the Duke of York, always known as "Bertie") has to move in the other direction: he has to loosen up, be less formal, less clenched, less clinically depressed. The movie cleverly casts a new light on the dysfunctional tremor at the heart of Britain's royal family, and cheekily suggests there was a time  when a British monarch experimented with psychoanalysis, disguised as   speech therapy.

Firth's face is a picture of misery in the opening scene, under his top hat, as if attending his own funeral. It is his first public appearance, required to speak through a microphone to vast crowds at the empire exhibition at Wembley stadium, and via live radio to the nation. His stammer means he can hardly get a word out, and the nation cringes with embarrassment. His formidable father, played by Michael Gambon with England's gruffest beard, makes clear to him that this is a new media age. It's not just a matter of looking frightfully regal on a horse, the monarch has to be able to master the radio microphone. Spectacle must not be replaced by dead air.

This is where Lionel Logue comes in – a bullish Australian with bohemian manners and shabby premises on Harley Street. He is a failed actor who is everywhere patronised as a colonial, especially by the toffee-nosed English theatrical types for whom he still hopefully auditions. We see him trying out for an amateur company by doing Richard III's "winter of our discontent" soliloquy. (Might Hooper and Seidler have considered making Logue do the "popinjay" speech by Hotspur from Henry IV Part One – the Shakespeare character traditionally played as a stammerer? Too obvious?) In his script, Seidler creates sharp exchanges as Logue fearlessly barges through the pompous royal formality that's all part of the problem, cheerfully deriding his previous medical advisers: "They're all idiots!" "They've been knighted!" splutters Bertie. "Makes it official then, doesn't it?" Slowly, Bertie opens up to his new friend about his unhappy childhood, and doesn't notice how his speech is improving.

The crisis comes when Logue gets too close to his patient, and Rush shows how "red carpet fever" is getting the better of him: he even affects some anti-colonial hauteur in dismissing the ambitions of Edward's mistress, Mrs Simpson, scoffing at the idea of "Queen Wallis of Baltimore".

Meanwhile, the abdication means poor, stuttering Bertie has to shoulder the ultimate burden while "Herr Hitler" is whipping up the stormclouds of war. The nation needs a king who can rally the forces of good in a clear, inspiring voice. Are Bertie and Lionel up to the job?

As well as the three leads, there are two tremendous supporting turns: Guy Pearce is a terrific Edward, the smooth, obnoxious bully who mocks Bertie's stammer and, marooned in Sandringham, yearns for phone sex with Mrs Simpson – what he ickily calls "making our own drowsies". Gambon has two great scenes as George V: first as the robust patriarch, barking orders at his quailing son, and then – the sudden decline is a modest coup du cinéma – incapable and on the verge of dementia, mumbling and maundering as his privy councillors make him sign away his executive responsibility.

Not everyone's going to like this film: some may find it excessively royalist and may, understandably, feel that it skates rather too tactfully over Bertie and Elizabeth's initial enthusiasm for appeasement and Neville Chamberlain. In this version, Chamberlain hardly features at all – we appear to pass directly from Stanley Baldwin's resignation to the sudden appearance of First Lord of the Admiralty Winston Churchill, jowl-quiveringly, sinew-stiffeningly played by Timothy Spall – always giving advice and apparently permitted to wield a lit cigar in the sovereign's presence. But The King's Speech proves there's fizzing life in old-school British period dramas – it's acted and directed with such sweep, verve, darting lightness. George VI's talking cure is gripping.

• Colin Firth
• Helena Bonham Carter
• Drama films
• Period and historical films

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The King's Speech: an emotionally stirring Oscar magnet

The King's Speech rules Toronto film festival

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The King's Speech – review

Colin Firth has left his posh acting peers in the dust. Give him the Oscar for The King's Speech now

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THE KING’S SPEECH

"speaking truth to authority".

What You Need To Know:

(Ro, PP, BB, AC, CC, H, LLL, A, D, M) Light Romantic worldview tending to question and fight authority, rebuked in the instance of one heir to the throne and mitigated by strong patriotic, moral elements (including brief positive references to God) and England takes a stand against National Socialism, plus some Christian references to the Church of England and Westminster Abbey, though archbishop comes across a bit stuffy, and some humanist psychobabble; about 40 or 41 obscenities (including 16 or 17 “f” words), one strong profanity using Jesus and one light profanity, plus several uses of the English word “bloody”; no real violence; no sex; no nudity; light alcohol use; smoking; and, lying and people, including his own family, make fun of man’s stuttering and express impatience with it.

More Detail:

THE KING’S SPEECH is an acclaimed period drama about the attempt to cure the British king’s terrible stuttering problem during World War II. Though extremely well produced and acted, the movie is not quite as good as it’s being portrayed. It also has some content and worldview problems, including plenty of strong foul language in a couple scenes that earned the movie a controversial, but appropriate, R rating.

The story opens with Prince Albert, the second heir to the Throne of England, making a horrible speech in 1927 because of his terrible stuttering problem. Everyone, including Albert’s wife, Elizabeth, tries to help him get over it, but nothing works. Then, Elizabeth finds an unconventional Australian speech therapist, Lionel Logue, who offers to help the Albert, but only if Albert will place himself entirely in Lionel’s hands.

Like many an Australian, Lionel has no patience for authority, much less for the stuffy traditions of English royalty. Albert is a very guarded man with some emotional baggage because of his stuttering problem, which his family, including his father, King George V, has mocked relentlessly since Prince Albert aka “Bertie” was a child. Consequently, Bertie and Lionel at first mix like oil and water.

Lionel’s expertise as a speech therapist, which he has learned through experience, clearly shows, however. Once Bertie lets his hair down a little, the frosty relationship between he and Lionel begins to thaw. As a result, Bertie begins to make real progress in getting over his stutter.

The problem is, to cure himself completely, Bertie ultimately has to face some uncomfortable facts about his strained relationship with his impatient father. Also, both he and Lionel must overcome some skepticism of Lionel’s expertise from the royal family’s advisors, including the Archbishop of Canterbury, the head of the Church of England.

Things come to a head when Bertie’s father dies and Bertie’s brother, the Prince of Wales, abdicates because of his love for a divorced American woman. Things really get serious when Bertie, now King George VI, must rally the British people against Hitler’s evil National Socialists in Germany by making the most important public speech of his life.

THE KING’S SPEECH tells a gripping, patriotic personal story that had a profound effect on history. The performances in THE KING’S SPEECH are superb, as is the movie’s production values in re-creating 20th Century England just before World War II.

Regrettably, the script meanders a little bit. This leads to a longer than necessary running time. Also, the movie often sides with the speech therapist’s Romantic, anti-authoritarian attitude (even though it can be a good thing to speak Truth to authority). Also, there are three scenes where the therapist gets the king to use strong foul language (nearly 40 obscenities, including some “f” bombs) as one method to get over his stuttering. The movie shows this method to be very useful. Finally, the movie telescopes events a lot, making the king’s first war speech more dramatic than it probably actually was. All that said, the movie does have a strong patriotic tone, including a strong approval of England’s stand against Adolph Hitler’s National Socialism.

Thus, all in all, MOVIEGUIDE® advises extreme caution for THE KING’S SPEECH.

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Review: 'The King's Speech'

Oscar Royalty

ALISON ST. JOHN: I'm Alison St. John in for Maureen Cavanaugh. Well, it's film club of the air. And since it's the end of the year, and award season, we've got some top to which films to talk about. Not that all our in-house critics will necessarily like them, as always, I expect some heated debate. But the reviews that I've been reading suggest some good quality entertainment in the films that our critics have picked to review am so just before we start that list, let's talk about the latest news from the San Diego film critics, because Beth, and first of all, of course, I should remind our listeners who our three critics are because some of you may not remember even although they're familiar names to most of us. Beth Accomando, is KPBS's film critic, and author of the blog cinema junkie. Beth, great to have you here. So let's start now with the big films that we're gonna be talking about today, and the first one is the king's speech. And this year's nominations for the golden globe awards were announced just justice. And the King's Speech is leading the pack with seven nominations issue it's a British period drama about king George the sixth, and his struggles to over come a chronic stammer. Colin Firth plays the king, and Geoffrey Rush plays his speech therapist. He begins by asking the king what he should call him. [CLIP] ALISON ST. JOHN: Okay, is that any way to treat a king? Of all the films that we're talking about today, this one seems to be the most like Oscar bait. So Anders, what do you think? Is it Oscar bait? WRIGHT: It's certainly Oscar bait. I think that the best picture, when the Oscars role around issue there are gonna be two films that are really sort of at the top of the heap, and it will be this and the Social Network. I actually -- there are film things about this film that I actually really enjoyed and appreciated. Will Colin Firth and Geoffrey Rush are terrific together. But in terms of being Oscar bait, it's British, it's a period piece, and it's about royalty. Which are all things -- MARKS: If they could work the Holocaust in there, wow. WRIGHT: Yeah, exactly. ACCOMANDO: Sort of. It's the beginning of the war. MARKS: Forget about Social Network. Home run. WRIGHT: But actually, I also really thought that the biggest prospect was Tom hooper's direction. It's really lack luster and fairly limp you've got these two terrific actors, and you almost never seen them in the same frame, working off of each other. MARKS: When was the last time you sa somebody using a fish eye lens? That's all this guy does. [CHECK AUDIO] and he shot in some pretty impressive places. Will I think it's because the guy is an amateur. This is Ia master piece theatre made for TV movie with great performances, a great story, and as Anders said, really mediocre direction. ALISON ST. JOHN: So maybe he's appealing to the public's affection. Maybe he thinks they like the fish eye lens. ACCOMANDO: Well, no, the best I can say about their director is maybe he stays out of their way sometimes. [CHECK AUDIO] and the direction is just inn inspired. It does nothing to add to the film or to bring anything to it. But they are great actors. Some of of the exchanges they have are a lot of fun. ALISON ST. JOHN: Do you think there's something about the fact that there's this monarchy, but they're suffering from this very human problem, the stammering, and it arouses a certain sympathy in the viewer? WRIGHT: Absolutely, and I think much of that comes from how good Colin Firth is. Of he -- I'm of the mind, he should have won the best actor for a film last year, for a film called a single man. And he didn't, but I'm fairly sure that he will win it this year. ACCOMANDO: Because they always give thea, ward late. WRIGHT: Yeah. And he's very very good. He really does turn this suffering, shy man into a Congress who has -- who is really not in touch with his emotions at all, and is completely out of touch with his subjects and yet has to find a way to over come this terrible impediment, and to bond with someone who he considers to be beneath him. ACCOMANDO: And during a very difficult time critical in history, because it's right at the beginning of the war where he's going. And adding to that, it's not just a point in time when the war is about to begin, but it's a point in time when radio and the media are suddenly requiring a king to speak publicly, whereas 50 or a hundred years before that, he could have got ebb away with having a stammer and maybe not having to worry so much about it. WRIGHT: Stand up and look good and wave. ALISON ST. JOHN: It's so interesting that that happened right at a time that the British empire was crumbling. You've gotta almost sort of ask about the synchronicity of that. Do you think that that adds to thea appeal of the movie? WRIGHT: Yes, I think the part of the sort of intrigue of the film is that he was never supposed to become king at all. He basically took on the thrown when his brother abdicated. ACCOMANDO: And actually, that was another flaw in the film was guy pierce was badly cast as his brother Edward. It just did not work. WRIGHT: Just foppish. ACCOMANDO: Not even foppish. It just -- he -- first of all of course he was Australian, and it seemed very -- that seemed to add to the problems of the fact that his performance wasn't that good on top of it, and he just seemed wrong. His voice seemed like he was postdubbed or something afterwards. So there was this disconnect whenever he came on and was talking. ALISON ST. JOHN: So the strength of the movie seems to be the relationship between the king and his -- ACCOMANDO: Yeah. MARKS: But as Beth pointed out, they're never in the sim frame together. I don't understand why a director would do that. And the scenes with the two of them, that's the only reason for seeing this movie. ALISON ST. JOHN: Really. So you like their relationship. MARKS: I was waiting for a flash back in the beginning. In any other movie, you walk up to the microphone, open his mouth, and then dissolve to flash back. WRIGHT: Right. MARKS: And uses his stammer almost as a cool plot point, you be, a plot device to bring it back later on. After that, all hopes of film making are just out the window. ALISON ST. JOHN: Well, Scott, is there requesting wrong with an audience pleasing human drama about the human spirit over coming -- MARKS: If it's -- well, at this time of year, okay, I guess this film is happy, you have this and yogi bear, those are the only two frolic -- ordinary care to beingers too. No, I think there is something wrong, I mean, if you're gonna make a movie, make a movie, don't just sit there and finger paint. WRIGHT: You know, I think people are gonna hike this movie. I really do. And the sort of tragedy of it, is this could have been a great film. And instead, I think, it's good, it's fine. But it's not a great film. ACCOMANDO: The other thing about it is, it's getting all these awards too. It's like awarding it for bad film making of it's fine if people enjoy it and get a kick on the of the performances, and get a kick out of the script. ALISON ST. JOHN: It's the direction that you really -- ACCOMANDO: The direction was just -- ALISON ST. JOHN: Disappointing? MARKS: It's also just such a safe choice for the academy. Look at the black swan, I can't believe the academy is even watching black Juan. ALISON ST. JOHN: Now, Tom Hooper, the director this you're all dissing here. Many people might know him because he produced that HBO miniseries, John Adams which I personally thought was very well done. But do you think he works better perhaps on TV than on the big screen. ACCOMANDO: It's possible. ALISON ST. JOHN: Perhaps you didn't like that series? ACCOMANDO: I didn't quiet to see that series. So I don't know, I can't compare his direct from that to this. WRIGHT: Yeah, it's just -- I mean, notally, you really have to sort of look at every project on an individual bases. But you hook at this film, when you break it down into the various components that went into it, you can see the sort of things that are terrific. Of and you can see what isn't? ACCOMANDO: But he also directs it as if it's for TV which will play better on TV where you may have a much smaller screen but -- WRIGHT: Maybe he was thinking about DVDsales. ACCOMANDO: I don't know. ALISON ST. JOHN: There's another one of my favorite actresses on this, Helena Bonham Carter. How did she do as his wife? ACCOMANDO: It was refreshing. WRIGHT: She came up doing roles like this. ACCOMANDO: Yeah. Where she's grateful and charming and funny and interesting. ACCOMANDO: Merchant ivory film. WRIGHT: Yeah, and then sort of went off into the Tim Burton land. ACCOMANDO: Tim Burton land. WRIGHT: She's had, like, giant hair and crazy make up and bizarre -- she's been over the top for years. ALISON ST. JOHN: I couldn't help thinking about her role, of course in Harry Potter. WRIGHT: No, yeah, of course. ALISON ST. JOHN: It's very difficult to see her as anything but that witch. WRIGHT: And she was in Alice in Wonderland earlier. And stuff like that. And it often peoples like, wow, what happened to the Helena Bonham Carter that we all fell for so many years back. And she's back in this. ACCOMANDO: And she's back. And she's very good. ST. JOHN: Okay. Well, that's the King's Speech, and it opened this Friday in are theaters. We've gotta take a break, but we'll be back with our three critics, Beth Accomando, Scott Marks, and Anders Wright.

Our founding fathers rejected the notion of having a monarchy but America, and especially Hollywood, adores tales of royalty. So prepare for the latest: "The King's Speech" (opening December 17 at Landmark's Hillcrest Cinemas and AMC La Jolla Village Theaters). You can read my review or listen to our KPBS Film Club of the Air discussion.

"The King's Speech" tells the story of Prince Albert (Colin Firth) who unexpectedly went on to become King George VI when his brother Prince Edward chose to marry an American divorcee rather then assume the throne. But for "Bertie" the timing couldn't be worse. In previous centuries, a king could be seen and not heard. But it's the 1930s. England is on the brink of war. And radio makes it impossible for anyone in the public eye or service to avoid speaking live on the air. Bertie has a stammer as well as some confidence issues. So even before he takes over the monarchy, Bertie is terrified by any prospect of speaking in public. Enter an unorthodox speech therapist named Lionel Logue (Geoffrey Rush). Bertie only reluctantly agrees to work with this commoner but the result is an unexpected friendship.

"The King's Speech" is a film that works in spite of pedestrian direction by Tom Hooper. Hooper is best known for his TV dramas, "John Adams" and "Elizabeth I." He shoots much of "The King's Speech" as if it were a TV drama, relying mostly on tight close ups that play well on the small screen. His only visual innovation is making microphones seem intimidating. The best thing I can say about his direction is that for the most part he stays out of the way of his actors. The film is made by Firth and Rush smartly delivering the clever lines of David Seidler's script. Together this trio creates a surprisingly intimate tale of two people who become unlikely friends. Firth also finds genuine vulnerability in a royal family member who is so unused to discussing his feelings that his emotions have as difficult a time coming out as his words. Firth's performance is amazingly nuanced because his character is introverted and opposed to revealing anything. Rush has a more overtly colorful character handed to him and has fun as the one who brings the prince down to earth.

The growing importance of radio is also central to the story. Without the presence of radio, Bertie might not have felt as terrified about public speaking. After all, addressing a few workers at a factory is not nearly as intimidating as speaking to the entire empire. Add to this that England is on its way to war and you have a situation that would make even a good speaker nervous. The film places one such good speaker – a young Winston Churchill (played by Timothy Spall) – on the periphery of the action but never uses him as well as they could have. The script builds nicely and at a good measured pace. Seidler never rushes his characters. So the audience can enjoy the slowly building friendship between the two men.

Two supporting cast members are of note. It's refreshing to see Helena Bonham Carter play such a sweetly normal role after so many wacky Tim Burton parts. She plays Bertie's supportive and quietly persuasive wife. On the other end of the spectrum is Guy Pearce as Prince Edward. Pearce is Australian and he strains so hard to sound "royal" that his whole performance feels artificial.

"The King's Speech" (inexplicable rated R for some language) is Oscar bait of the first order. Firth should have won his best actor Oscar last year for his work in "A Single Man." But the Academy is notorious for playing a game of catch up with its awards. So Firth is more likely to win this year since he's both past due and playing a British royal. But it is hard to resist the charms of the script, and the two lead performances. Plus you get to see Queen Elizabeth as a little girl.

Companion viewing: "The Queen," "The Damned United" (also directed by Hooper), "Young Winston"

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The King's Speech Reviews

This is a life-affirming picture about a complex friendship and personal conviction that’s as touching as it is inspiring, and it does all this without feeling cliché or typical.

Full Review | Original Score: 4/4 | Aug 3, 2023

With impeccable period detail accompanied by a few great performances, The King’s Speech is a crowd-friendly, uncomplicated film with a big heart.

Full Review | Jun 27, 2023

Reminds us of a time — not long ago at all — when substance counted for something, and admiration, even among those born to privilege, had to be earned.

Full Review | Original Score: 5/5 | Apr 1, 2023

It’s done with good taste, crisp restraint, self-effacing humor and, of course, the modesty we expect from British cinema. Stiff upper lip and all that, with just a touch of sentiment.

Full Review | Feb 4, 2023

Firth strikes a perfect balance between his abrasive traits and the vulnerability that coaxes our empathy.

Full Review | Nov 29, 2022

This spiritual odyssey deserves to be told and in the splendid manner of The King's Speech. [Full review in Spanish]

Full Review | Jul 14, 2022

"The King's Speech" tells this very personal story of therapy and friendship in such an exquisitely grand and fulfilling way.

Full Review | Original Score: 5/5 | Feb 12, 2022

A brilliantly made Royalist drama...

Full Review | Original Score: 3.5/5 | May 25, 2021

While there is mild mounting tension, the crux of the film rests on a mere speech recital which is in itself largely anticlimactic.

Full Review | Original Score: 8/10 | Nov 29, 2020

The holiday season's must see film.

Full Review | Original Score: 4.0/4.0 | Sep 13, 2020

A wonderfully-acted, well-crafted motion picture, but one that is also brutally dull.

Full Review | Original Score: C | Jul 12, 2020

This Oscar-bait tour de force should leave you laughing, and perhaps shedding a tear for a very human monarch.

Full Review | Jun 8, 2020

[T]his film is a genuine delight.

Full Review | Original Score: 5/5 | Oct 23, 2019

A strong and respectable drama that is anything but revolutionary, but admirably tells its story with dignity and grace.

Full Review | Original Score: 3/4 | Jun 7, 2019

Firth's performance in this great film cements his status as one of the best actors working today.

Full Review | Original Score: A | May 8, 2019

Some people never learn. Which is why the great pedagogical movies are for all of us, every last one.

Full Review | Original Score: 3/5 | Feb 20, 2019

Travel without prejudice and you will enjoy a moving, impeccably acted and surprisingly funny slice of comfort food. There are worse ways of starting an unpromising looking year.

Full Review | Feb 20, 2019

The King's Speech lingers in the mind and the emotions long after it ends, communicating to us in the spirit of Logue's work.

Full Review | Original Score: A- | Feb 16, 2019

What's so interesting about watching a stammering British royal in the 1930s learning to speak well? As it turns out, plenty.

Full Review | Jan 19, 2019

When you're telling a story about people as well-documented as the English royals, it's difficult to achieve a fresh outlook; and unfortunately Mr. Hooper and screenwriter David Seidler don't quite succeed.

Full Review | Aug 9, 2018

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The King's Speech: Film Guide

Short (1-4 activities)

England, Northern Ireland, Scotland, Wales

A film guide that looks at The King's Speech (2010), in which Colin Firth gives an award-winning performance as the stammering King George VI in British director Tom Hooper's film about the wartime monarch.

This guide is useful for exploring topics including English, History, Citizenship, and PSHE Education in addition to highlighting themes surrounding historical periods, disabilities and inclusion, events and figures, the mass media, World War Two, democracy and rights, health and wellbeing and community.

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The King's Speech (2010)

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Colin Firth gives an award-winning performance as the stammering King George VI in British director Tom Hooper's film about the wartime monarch.

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Duration 113 mins

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Movie review: ‘The King’s Speech’

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It takes two, it always takes two.

Though romantic couples get the attention, some of the most memorable movie pairings, from Marlon Brando and Rod Steiger in “On the Waterfront” to Geena Davis and Susan Sarandon as “Thelma & Louise,” feature same gender actors playing off each other to breathtaking effect. So it is with Colin Firth and Geoffrey Rush in “The King’s Speech.”

FOR THE RECORD: “The King’s Speech”: A review of the film “The King’s Speech” in the Nov. 26 Calendar section said that the coronation of Britain’s King George VI occurred in 1936. The coronation was in 1937. —

Simultaneously commoner and king, teacher and pupil, iconoclast and underdog, the meeting of the unstoppable force that is Rush’s speech therapist and the immovable object that is Firth’s future English king is as good as one-on-one acting gets. Both actors completely inhabit their absorbing roles, relishing the opportunity their exchanges provide and adding unlooked-for layers to a complicated human relationship.

Because this British film has the contours of an Oscar-friendly Hollywood story (not for nothing is the Weinstein Co. involved), “The King’s Speech” tends to sound more standard than it plays. In fact, several factors, aside from that acting, keep it involving and well above the norm.

A key aspect is that “The King’s Speech” is based on the true story of the relationship between Lionel Logue, an Australian speech therapist, and Albert, the Duke of York, who was forced to confront his debilitating stammer in the years leading up to his 1936 coronation as King George VI.

Peeks behind the velvet curtain at scenes of royal travail can be involving, witness 1994’s “The Madness of King George,” and this story is exceptionally moving as well. In fact, when screenwriter David Seidler, a boyhood stutterer, approached the Queen Mother, the king’s widow, decades after the fact about a possible film, she wrote back “Please, not during my lifetime. The memory of these events is still too painful.”

Seidler is a veteran screenwriter whose credits include “Tucker: The Man and His Dream” and three Writers Guild nominations for television features. His script is especially good at conveying the push-pull between royal stutterer and plebian therapist, and his words are given extra spirit by fine acting in the other roles.

Playing the matronly but determined Elizabeth, Duchess of York, is Helena Bonham Carter, in tart Merchant-Ivory form and only one of several top British actors that fill out the cast. Especially good are Michael Gambon as Albert’s father, George V, Derek Jacobi as the Archbishop of Canterbury, Jennifer Ehle as Logue’s wife, Myrtle, and in a surprise but very successful bit of casting, Australian Guy Pearce brings surprising life to Albert’s abdicating brother, Edward VIII.

Best known in this country for the multi-Emmy winning “ John Adams” miniseries, director Tom Hooper is a proven storyteller, expert at embracing popular dramatic material without forcing the emotional content. Though little seen over here, features like “The Damned United” and “ Longford” underscore the way Hooper brings intelligence, variety and pace to traditional stories.

Every drama needs a villain, and we catch a glimpse of this film’s antagonist early on: it’s an enormous microphone, looking as sinister as a serial killer. It’s set up at Wembley Stadium at 1925 so Albert, known as Bertie to his friends, can give a speech to be broadcast to the nation and the world.

As played by Firth in top hat and agony, the Duke of York looks like a man headed to his own execution, or at the very least a considerable public humiliation. As the speech heads toward inevitable disaster, Firth beautifully conveys the agony his stutter causes him, as well as his conviction that he is not living up to his royal obligations by not being able to master it.

So as the years roll by the haunted and distraught duke goes off to a series of therapists, a parade of cranks, quacks and well-meaning incompetents who are so disturbing to his personal dignity that he makes his wife swear that she will take him to no more.

The duchess, however, is made of sterner stuff, and she has one more therapist to try. That would be Rush’s Logue, an eccentric, iconoclastic Australian who so insists on having things his own way — “my game, my rules” — that he makes the unbending duke come down to his humble Harley Street office for his appointments.

The keenest pleasure of “The King’s Speech” is watching the developing relationship between two men who initially have a very convincing distaste for each other. When the duke says “you’re peculiar,” Logue says, “I take that as a compliment.” When Logue admits his methods (which involve comically bizarre physical exercise and deft psychological probing) are unorthodox and controversial, the duke allows that those are his least favorite words. When Logue insists on calling him Bertie, the hot-tempered duke wants to call the whole thing off.

What keeps this mismatched couple together is, frankly, the press of world events. When his brother abdicates for “the woman I love,” the duke unexpectedly becomes king, and when World War II begins, his need to effectively address and rally the nation becomes paramount.

The gift of “The King’s Speech” is that it allows us to look on as a pair of masterful actors re-create a monumental test of wills between an imperturbable layman and a king who insists with royal certitude, “I stammer. No one can fix it.” Their dilemma never feels anything less than real, and when they reach the end of their journey together, we share more fully in their emotions and accomplishments than we would have thought possible.

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‘The King’s Speech’

MPAA rating: R, for some language

Running time: 1 hour, 58 minutes

Playing Arclight, Hollywood, Landmark West Los Angeles

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The King's Speech

• Study Guide
• Event Q&A
• Shakespeare’s Henry V
• Great Orators
• Making a Speech

The focus within the English curriculum on speaking and listening in a range of contexts, as well as the study of spoken English, makes The King’s Speech a highly appropriate film to stimulate discussion. As a British production, the film also makes an excellent focus for Media Studies, where students can explore promotional materials around the film’s release. The film can also be approached by students of History, as interesting stimulus for further discussion.

To accompany the film’s DVD and Blu-ray release, we have produced a curriculum-linked study guide that you can download. This guide is designed for use within English and Media Studies lessons at Key Stage 4 (14–16).

The King's Speech Educational Resource (PDF)

The King's Speech

56 pages • 1 hour read

A modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.

Chapter Summaries & Analyses

Chapters 1-3

Chapters 4-6

Chapters 7-9

Chapters 10-12

Chapters 13-16

Key Figures

Symbols & Motifs

Important Quotes

Essay Topics

Discussion Questions

Summary and Study Guide

The King’s Speech is a 2010 non-fiction book about King George VI and how he was treated for a speech impediment by the Australian Lionel Logue . Their unlikely friendship is credited for saving the British monarchy during a difficult time in world history. The King’s Speech was co-authored by Mark Logue (grandson of Lionel Logue) and Peter Conradi (an accomplished author of historical nonfiction) as an accompaniment to the Oscar-winning 2010 film of the same name. 

Plot Summary

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The book begins in May 1937. King George VI wakes up on the morning of his coronation, already nervous. The British monarchy is facing “one of the greatest crises” (16) in its history following the abdication of Edward VIII. Also in London, an Australian speech therapist named Lionel Logue wakes up and begins to travel to the coronation with his wife Myrtle. The King is expected to deliver a speech, and the stammer he has suffered from since childhood has made this a difficult prospect. The streets are packed as the crowds gather to watch the ceremony. The coronation goes well. That evening, Logue travels to Buckingham Palace to help the King prepare for a radio broadcast. The next day, the King’s speech is hailed as a success.

Logue was born in Adelaide in 1880. He develops an interest in elocution and begins to perform speeches onstage for rapt audiences. He meets and marries a woman named Myrtle, and the two have a son together. They travel the world in 1908, leaving their son Laurie at home. They plan to move to Britain but do not do so until 1924. Logue becomes famous in Australia for his skills as a speech therapist. 

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By the time the Logue family moves to Great Britain, they have three sons. The country is still recovering from World War I and an economic recession. Logue sets up a speech therapy practice. He develops a number of key techniques to treat speech impediments. 

The future King George VI is born in December 1895. His grandmother is Queen Victoria. With his brother, he is raised mostly by nurses and governesses, leading to a distant relationship with his parents. Whereas his brother is charming and fun, he has developed a terrible stammer. Bertie (as he is known) attends naval college and does not excel. His father is eventually proclaimed King. Bertie struggles to give speeches and frequently falls ill. In adulthood, Bertie slowly becomes his father’s favorite while his brother argues with the King and has developed a reputation for socializing. Bertie meets Elizabeth, and they marry, which pleases Bertie’s father, though his stammer remains an issue. Public speaking makes him incredibly nervous. One speech ends in humiliation for Bertie. Logue hears him speak and believes he can help. Bertie has sought medical advice, but it has always failed him. At Elizabeth’s request, Bertie agrees to meet with Logue.

Logue and Bertie meet at Logue’s office. Logue declares that he can cure the stammer but demands that his patient apply a tremendous amount of effort. They meet often, and two well-delivered speeches are seen as evidence of improvement. A royal trip to Australia goes very well, and Bertie is commended for his speech. The lessons continue.

Logue takes Myrtle to the Palace, where they are presented at court. Bertie’s improvement is noted in the press, though Logue declines to answer questions on the matter. The story is eventually published, and Logue is credited for his work, becoming famous. Bertie continues to toil and the beginnings of a real friendship between him and Logue emerge.

The narrative moves into the 1930s. Bertie is becoming more involved in the monarchy while his daughters are becoming world famous. He visits Logue less frequently but remains in touch. The Great Depression affects both men’s families. King George V dies in 1936, precipitating change for both men.

Edward takes the throne as a popular King, but his romantic relationship with twice-divorced American Wallis Simpson is scandalous. When he announces that he wants to marry Wallis, he is told it is not possible. Edward abdicates the throne. Bertie takes the throne as his brother leaves the country. Bertie becomes King George VI. His speech impediment is now an even bigger issue, even if his treatment has been going well.

Logue helps the new King prepare for his coronation. There will be a speech to the crowd and a radio broadcast for the Empire. Rehearsals do not go well, though the Queen is a calming influence. A back-up recording is made from practice speeches in the event that something should go wrong.

Both speeches are a triumph. Logue continues to help the King prepare his speeches. The monarch’s new workload is notably draining. The King delivers a Christmas day speech in the mold of his father, which Logue helps prepare. They spend Christmas day together, and the King gives Logue a present as a means of thanking him. Myrtle returns to Australia, where she is treated like a celebrity. Everyone wants to know about her husband’s work with the King.

As Europe moves closer to the Second World War, the King travels to Europe. He delivers speeches and meets with President Roosevelt. Logue grows closer to the royal family, and when the King returns from America, they chat informally about the trip while preparing for a speech.

The Second World War begins. The Logues’ Bavarian cook returns to Germany. Air raid sirens encourage everyone to move to shelters. The King and Logue prepare a special radio broadcast to reassure people. Rationing is introduced. The Christmas speech becomes a yearly tradition.

The war continues. The King’s hair is beginning to grey as he and Logue prepare a speech for Empire Day. Logue listens to the speech, marveling at the progress the King has made. The King is proud. The Nazis are winning in the war. Logue’s eldest son is conscripted. London is bombed. Logue assists with another Christmas speech. As he listens, he stops following along because he realizes that there is no need.

By 1943, the war has turned in the Allies’ favor. The King visits North Africa. All three Logue boys are now serving in the military. Logue’s business suffers due to the war and the King donates £500 as a means of thanking Logue. They prepare a speech for the eve of D-Day, which is a great success. The war continues, as does the bombing of London. The King delivers the Christmas speech without Logue, and it is a great success.

The Allies win the war. The entire country celebrates. Later, while Logue is undergoing surgery, Myrtle suffers a heart attack. Logue is devastated. Logue continues to work, though he sells the large (and now empty) family house. He is lonely and develops an interest in psychics. The King’s daughter marries, and the King’s health worsens.

The King delivers his final Christmas speech in 1951 and dies in his sleep a short time later. He and Logue corresponded up until his death. Logue recovers from his own illness to write to the Queen, mourning the loss of her husband. Princess Elizabeth is crowned Queen Elizabeth II. Logue dies in 1953 as a result of kidney failure. He does not survive to see Elizabeth’s coronation, though he is invited.

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