国王的演讲观后感

在一个大约有一百多人的大教室里，我坐在教室的第一排，饶有兴致的看完了听说获得奥斯卡很多项提名的影片， 早就听同学说起过这部电影，但由于一直很忙，都没有机会在网上下载下来看，其实蛮喜欢看电影的，所以就 选了这堂电影课，老师恰巧就选择了这部电影，所以就特别开心的和大家一起看了。

这真的是一部非常好的电影，好的电影给人的不应只是视觉的观感，更应该是一种心理上的沟通与净化吧。这部影片讲述的是一个特殊的人－－亨利六世，如何在妻子的坚持与大夫的帮助下，经过训练，克服了在公众前讲话口吃的毛病，终于在国难当头，政局危机下，发表慷慨激昂的著名演讲，鼓舞了当时二战中的英国军民的故事。其实看完这部影片给我最大的感受就是人最大的敌人就是自己，要学会战胜自己，记得伯蒂在 接受莱诺医生的治疗时一直强调自己从小就口吃，并不能流利地讲话，而且对任何治疗的并不抱有希望，只是形势所迫，不得不接受妻子的安排。可见他的态度是极其悲观的，其实人最大的敌人就是自己，像他这样，一直给自己消极的心理暗示，认为自己不行，自己做不到，再加上先前的方法治疗不得当，因此他的口吃才长期没有得到根治。直到他遇到莱诺，才逐渐向他打开心扉，说出自己童年的心酸经历，兄弟嘲笑他，父亲骂他，母亲掐他、饿他。我想伯蒂是不幸的，身居高位却要忍受口吃这样的尴尬，但他又是幸运的，至少他遇到了一个肯倾听他的心声的知己，肯尽心尽力帮他渡过难关的良师益友，在他的帮助下，他终于克服了自己的心理障碍，在公众

面前，也是国家危急时刻做了一次慷慨激昂的演讲。

说到这里，提到伯蒂童年那段部并不愉快的经历，我突然想起了我看过的一本书，叫《遇见未知的自己》，是有关都市心灵修灵的书，想起了其中十三章的内容，回溯童年的记忆—我们身体的障碍。这章是有关潜意识的，其实我们成年以后的经历和性格和童年的经历是密切相关的，伯蒂儿时被嘲笑，被忽视的经历对他以后的人生经历有重要影响，以至于在他以后的人生里在潜意识里寻求不自信，自我否定的胜肽，情绪体验。由此可见，一个人童年接受的教育是多么重要啊。

《国王的演讲》之所以能获得奥斯卡大奖，我想主要是其体现出来的精神。乔治明知自己口吃，但是还是执意要发表圣诞演讲。因为这对于鼓舞士气，稳定民心，战胜法西斯德国很重要。看起来只是一篇演讲，其背后体现的是国王的国家责任感。电影中有一个场景，乔治在排练圣诞演讲的时候，矫正师故意坐在几任国王坐过的椅子上，来挑战乔治的价值观，让他看淡。乔治被激怒了，后来矫正师站起来说“你有高贵的品格，过人的勇气，我相信你会称为一个好的国王”。这句话让我很受触动。如果想做成一件事，不一定品格多么高贵，但是要具有良好的品格。推而广之，口吃者的心理都不是很健康，人格也不是很健全，但是可以通过努力，使得自己心智成熟起来；通过努力，使自己的人格健全起来，这样就会有勇气去担当。无形中就会有一股力量来促使着你，帮助着你把事情做好。我想这是这部电影给我们的一个重要启示。

第二篇：国王的演讲观后感英语作文

国王的演讲

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 review may contain spoilers

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

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. The film director has done a fantastic job

国王的的演讲 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!