《The King's Speech》

In this grave hour, perhaps the most fateful in history, I send to every household of my peoples, both at home and overseas, this message, spoken with the same depth of feeling for each one of you as if I were able to cross your threshold and speak to you myself. For the second time in the lives of most of us, we are at war. Over and over again, we have tried to find a peaceful way out of the differences between ourselves and those who are now our enemies; but it has bee in vain.

We have been forced into a conflict, for which we are called, with our allies to meet the challenge of a principle which, if it were to prevail, would be fatal to any civilized order in the world.

It is a principle which permits a state in the selfish pursuit of power to disregard its treaties and its solemn pledges, which sanctions the use of force or threat of force against the sovereignty and independence of other states.

Such a principle, stripped of all disguise, is surely the mere primitive doctrine that might is right, and if this principle were established through the world, the freedom of our own country and of the whole British Commonwealth of nations would be in danger. But far more than this, the peoples of the world would be kept in bondage of fear, and all hopes of settled peace and of security, of

justice and liberty, among nations, would be ended.

This is the ultimate issue which confronts us. For the sake of all that we ourselves hold dear, and of the world order and peace, it is unthinkable that we should refuse to meet the challenge.

It is to this high purpose that I now call my people at home and my peoples across the seas, who will make our cause their own. I ask them to stand calm and firm and united in this time of trial.

The task will be hard. There may be dark days ahead, and war can no longer be confined to the battlefield, but we can only do the right as we see the right, and reverently commit our cause to God. If one and all we keep resolutely faithful to it, ready for whatever service or sacrifice it may demand, then with God's help, we shall prevail.

《国王的演讲》

在这个庄严时刻,也许是我国历史上最生死攸关的时刻.我向每一位民众,不管你们身处何方，传递这样一个消息。对你们的心情，我感同身受，甚至希望能挨家挨户，向你们诉说：我们中大多数人将面临第二次战争。我们已多次寻求通过和平方式，解决国家间的争端，但一切都是徒劳。我们被迫卷入这场战争，我们必须接受这个挑战。如果希特勒大行其道，世界文明秩序将毁于一旦。这种信念褪去伪装之后，只是对强权的赤裸裸的追求。为了捍卫我们珍视的一切，我们必须接受这个挑战。为此崇高目标，我呼吁国内的民众，以及国外的民众以此为己任。我恳请大家保持冷静和坚定，在考验面前团结起来。考验是严峻的，我们还会面临一段艰难的日子。战争也不只局限于前线，只有心怀正义才能正确行事。我们在此虔诚向上帝祈祷，只要每个人坚定信念，在上帝的帮助下，我们必将胜利。

第二篇：国王的演讲观后感英语作文 the king's speech

国王的演讲【一】

By mikey QQ:805191181

The King's Speech is one of my favourite films because it is both funny and sensitive. It is not a film just about royalty. This film is more a human story played by excellent actors at the peak of their craft. In the opening scene we can see how it will be difficult for GeorgeVI, the new king, after EdwardVIII abdicated and renounced the throne.

Is it possible to take on the responsibility of royal duties with a speech impediment ? The new king has proved it with courage and, above all, with a great wife and an excellent therapist.

The film shows his effort, his courage. There is no special effect, no action but it is exciting. When you watch the film, you are in London with the king telling: "you can do it". Moreover, the film is a visual experience with foggy streets. I do not know a lot of this period of British history but I think it is faithful to reality. Finally, I intend to watch it again as I loved it.

This is a biopic about how King George VI, the father of Queen Elizabeth II, overcame his stuttering problem. Widely

considered by all but his father unfit to be king, George is reluctantly thrust unto the throne and into the spotlight after his brother is forced to abdicate. Overshadowed on the global stage by powerful orators like Adolph Hitler and Benito Mussolini, the King relies on the help of a little-known Australian speech therapist named Lionel Logue to find his voice and courageously lead his people into the most devastating war humanity has ever faced.

This is a powerful, hilarious and deeply moving story, told against the backdrop of a critical juncture in modern history, of the emergence of a deep friendship out of a professional relationship between two men who would otherwise never have socially interacted. The screenplay, written by David Seidler (who also wrote Tucker: The Man and his Dream), is excellent. The dry British wit is hilarious. I was literally slapping my knee during some of the scenes. Tom Hooper (Elizabeth I) does a superb job directing this movie. The buildup to the climactic finale is skillfully executed and prompted the audience to erupt into spontaneous ap (Apparently, this also happened at the Roy Thomson Hall premiere.) Geoffrey Rush (Elizabeth: The Golden Age) does a fantastic job as Lionel Logue and Colin Firth (A Single Man) is excellent as King George

VI.

I saw the second public screening of this movie at the Ryerson Theater during the Toronto International Film Festival (TIFF). Tom Hooper was present to introduce the movie. He was joined by Colin Firth and Geoffrey Rush after the movie ended for a brief Q&A.

It turns out that David Seidler also had a stuttering problem as a child and drew inspiration from the king's struggle. Early in his career he wanted to write a screenplay about it. He dutifully asked the Queen Mother for permission. She agreed but told him "not in my lifetime". Little did he know she would live to be 101 and he would have to wait another 30 years.

Another interesting tidbit we learned was that near the end of the shoot, the crew finally located one of Lionel Logue's grandsons, who just so happened to live about 10 minutes away from the director. They got access to Lionel's diaries and correspondence and managed to incorporate some of it into the script.

This movie is an unqualified must see.This review may contain spoilers.What makes the movie fascinating is that it's based on a true story, and from what I heard, it's based on a play, and its biggest achievement is that it never feels stagey,

that it's entertaining, that it's got some sublime acting, mostly Firth and Bonham-Carter, though Rush is very good, too. In general, it's a nice film. The one thing that hurts it a little is the setting, the fact that had it been based on lesser humans, it might have had a stronger impact. Seeing the royal nature of things, after being exposed to so much of this type of drama in the last three or four decades, feels a bit boring. I couldn't help but noticing how hard the cinematographer tried to make it look different, and for a while I thought I had kept my shades on because the film look so dark.

Now, looking at what works, as I mentioned before Firth is spectacular, giving a very natural and human spin to what could have a tired turn. We have seen how hard actors tried to show their technical skills, and it's Firth's gift that he can make a stutter emotional and frustrating, that we see how his soul hurts, and his spirit breaks over and over, as he tries to overcome his disability. He knows where he belongs, the pressures he is under, and he hates the spotlight, and all of this is perfectly reflected in his performance. Coming in to give it an interesting balance is the subtle and affecting work by Bonham-Carter, showing an amazing range and getting further from the loud histrionics of both "Potter" and "Wonderland",

two great turns, but it's her sweet support, both in the film, and in her acting that is rewarding. She is perfectly attuned to her part and is a great partner to Firth. Both of them do act like full human beings who just happen to be royalty. She had plenty of practice before getting here. Firth is perfect in this type of role.

Coming so soon after "A Single Man", we're not truly surprised Firth could do any better. In fact, it's just a different type of role, and he handles it with so much aplomb that it feels natural, noticeable without being too much, interesting, one piece of acting that will eventually be mentioned among the best of someone's career, or of anything in the movies. In this case, it doesn't matter what the man is wearing, his soul and his pain are real, and his desire to overcome his obstacles and please those around him, most importantly his closest family and friends is what fuels the intensity of the performance. Every syllable, every gesture, every look, and every exchange between him and the other actors has a purpose and never loses its direction and focus. That is what makes the conclusion so satisfying and appeals to us. This film doesn't forget the human connection with its audience. A few years ago "The Queen" explored the inner

conflicts of a woman who wasn't sure of her station, and we have

seen "Elizabeth" and the political drama of the period, but it's

the human side that is so often neglected, and "The King's

Speech" has made sure it remains at the forefront of the main

crisis. It's critical that we like this man, regardless of who

he is, and we do. We want him to succeed, to have his "Rocky"

moment, and the question is how much are you going to enjoy the

ending? Very nice indeed.

This is based on the historical events of how in the

1930's Britain's sovereignty was faced with a leadership crisis.

King George V (Michael Gambon) is rapidly ageing and looking

for a true heir to his throne. American woman who has already been divorced and remarried. The

king's second son, Albert Frederick Arthur George (Colin Firth)

or Bertie as his family calls him, seems like a more sensible

choice but he is entirely lacking in confidence because of his

terrible speech impediment. No amount of treatment has been

able to cure Bertie of his condition. His wife Elizabeth Bowes

Lyon (Helena Bonham Carter) seeks help from an unlikely source:

a lower-class Australian speech therapist, Lionel Logue

(Geoffrey Rush). Bertie is initially reluctant because

Lionel's unorthodox approach forces him out of his comfort zone.

With the impending rise of Hitler though, Bertie begins to understand the urgency to inspire people's confidence in the British government and learns to trust Lionel.

The King's Speech, a thoroughly entertaining slice of history, is just the third feature from director Tom Hooper. Yet it has still been crafted with a particular amount of delicacy. It's been photographed by cinematographer Danny Cohen with mostly drab colours. The overarching grey skies and dark textures of Bertie's suit are some of the subtle visual devices used to convey Britain's sense of dread and uncertainty at this time. The atmosphere is complimented by the pivotal subtext of David Seidler's intelligent screenplay, specifically the way people are won and lost on what they see and hear. Bertie's father describes how politicians are now nothing but actors because of technological improvements, like the radio and the way that this has, for better or worse, drawn the public closer to the lives of their leaders. It's an idea conveyed most extensively through the progressive friendship of Bertie and Lionel, allowing the film to succeed as a historical piece and equally as a film about social interaction.

The sessions shared between Lionel and Bertie are the

most crucial aspect of the narrative and the experience of both these terrific actors make these scenes shine. Firth, a current favourite for the Best Actor Oscar, has rarely been better. He has played critically suppressed men before, like his nominated performance in A Single Man, but his performance is distinguished through a number of extraordinary physical constraints. His stammering alone is heartbreaking to watch and listen to. Yet the way Firth struggles internally with his own body, trying to wrench the words out from his lungs, is what makes his work truly powerful. There are more poignant details revealing his isolation from his family and his rivalry with his inept brother too. But his role is enhanced most significantly by his palpable chemistry with Lionel, his antithesis. Whereas Firth is appropriately contained, Rush provides a wonderful burst of energy to the film. The script offers him endless opportunities for quiet humour and his comic timing remains impeccable. "You're peculiar", Bertie tells him, to which Lionel replies so finely: "I take that as a compliment". Lionel's charisma and humour is imperative in asserting Bertie's insecurities but also the corridor through which he will draw himself emotionally closer to the common man. There are also some unexpected angles to this friendship too, like

whether Lionel is in some respects trying to influence the monarchy by coaching Bertie. In terms of writing and performances,

国王的的演讲【二】 This is truly an elegant and scrumptious movie! Everything about it feels lavish and luxurious. From the direction, production, acting and everything else! It might seem a bit as a by-the-numbers film, but believe me, it more than makes up with its high pedigree. Colin Firth is really great in his performance and completely deserved the Oscar he so rightfully won. But it is not just him, because he is anchored by a stunning and wonderful supporting cast, from Helena Bonham Carter (who should have also won a Supporting Actress Oscar) to the amazing Jeffrey Rush, Derek Jakobi, Michael Gambon, Guy Pearce and Jennifer Ehle.

While I was rooting for David Fincher to win the Oscar for Best Director, I am not sorry that Tom Hooper received it, because he deserved it just as much. Tom Hooper has been a favourite of mine for many years now. He might be best known to North American audiences for his spectacular work for HBO,

with the multiple-award winning mini-series "Elizabeth I" and "John Adams" as well as TV movies such as "Longford" and the small movie gem that was "The Damned United" with Michael Sheen. The same goes for Best Movie Of The Year. I still think that "The Social Network" should have won, but "The King's Speech" is a worthy choice also.

Beyond all the quirky episodes and soaring moments of the movie, this is at its hear a story about friendship, trust, loyalty and what those ingredients add up to in someone's life, not matter his/her station and/or position in society.

If you haven't already done so, do yourself a favour and go see this wonderful movie. These days, when everything seems to be ruled by the lowest common denominator, this movie, "The King's Speech", stands as an example of what happens when both substance and style stand for something...namely quality!