Hooper’s melodrama between the teacher and student is the real on screen romance that we have encountered in years.
Hooper’s melodrama between the teacher and student is the real on screen romance that we have encountered in years. Hooper’s wit is on fabricating a conversation compelling enough to be determined as an argument. And it cannot be best described other than a debate. A debate that keeps you on the edge of the seat with inspiring performance, direction, writing and choreography. Yes, choreography. Each sequence is a dance number between these high calibered cast. The camera work is persistently moving along with these characters that creates a ferocious environment within a conversation which a car chase normally does. Seidler’s characters are welcomed with open arms by Hooper. His execution is much more impressive than the script itself.
Creating such an intense sequence among such fragile equations that discovering the reality and realizing the intentions that we have been aware of all along, itself gives you the chills. The exhilaration and fear of facing your ghosts residing within you on such a larger scale is a testament to the stakes depicted in here and to project it on the screen is purely a work of a performer and no one else. And Hooper has his ace of hearts up front from the first frame. Firth’s devotion and work towards the character stays up till the camera is about to roll and after that just as his character, he sings with flamboyancy.
Firth makes the speech his definition, he prepares on and off screen for it that marks his talent like never before. Rush and Bonham Carter as his supporting cast are splendid on their portrayal of the boost that everyone aspires to have especially at such delicate times. The King’s Speech is every bit of Hooper’s speech as it is Firth’s, merging both of their career’s best work, it manages to star royal and elegant.