阴谋或者是政治无可幸免的阴影,口吃依然不能痊愈

The King’s Speech actually tells us how to fight against the weakness in
our hearts. We see once Bertie watches the powerful and inciting speech
given by Hitler and at first, the shock and little envy flashed through
his eyes. But he soon realizes that even though Hitler’s speech is
flawless in form, it contains evil inside. Bertie’s speech is a real
success because the courage and love from his wife, his friend and
himself back him up. Just as the words in trailer: Some men are born
great/Others have greatness thrust upon them. It’s not the mouth that
makes the speech, it’s the heart.

从大不列颠及北爱尔兰联合王国1个网址上看来的
说的很风趣

When god couldn’t save the King, the Queen turned to someone who
could.
 The King’s speech is a wonderful film about George VI (whose brother
gives up the Kingdom for a woman) and his speech therapist Lionel
Logue.On the eve of world war II, Hitler’s ambition is so apparent that
people can even smell the smoke of gunpowder, while at this time
Edward–Bertie’s brother leaves the interests of his country behind, but
puts all his energy on the love affair with Mrs.Simpson, and even
abdicates for her.As a result, Duke York is pushed onto the throne
reluctantly.However, as a stammer who grows up in the shadow of his
father and brother, Bertie has a big problem of giving a speech in front
of the microphone, yet which is vital for a King.Fortunately, Queen
Elizabeth finds a very special therapist Logue for Bertie, and through a
series of training, things are starting to change for the better.At the
end of this film, George VI gives an inspiring speech to his country,
which perfectly encourages soldiers and England people.
美高梅手机版4858, To be or not to be, this is a question—to live intensively and
richly, or merely to exist, that depends on ourselves.Without the crown,
Bertie is just an ordinary person who is bad tempered and becomes a
stammer because of an unhappy childhood.But I am deeply touched by his
obsession when he tells a story for his girls, how I wish I could give
him a hand at that time, but I can’t.Actually, what makes him shoulder
the responsibility successfully during that crisis is not his talent or
something like that, but exactly, his obsession and bravery to challenge
himself.As a stammer, he chooses to change, to live intensively and
richly as a real King, not merely to exist and hide from his own flaws,
just as he shouts, “I have a voice!I have a right to be heard!”.Just as
Lionel says”This fellow would be somebody great, he is just afraid of
his own shadow.” Bertie does deserve to be somebody great, instead of
being buried in his own dark world and struggling for light.

2011 has been a good year for stuttering. Thanks to “The King’s Speech”
— the Oscar-nominated film about King George VI’s attempt to overcome
his speech impediment — the largely hidden, sporadically mocked and
much misunderstood condition is on everybody’s lips. The non-stutterer
Colin Firth, and the character he portrays, have become the voice of a
condition that has long remained mute. But if “The King’s Speech” has
become a stuttering education for much of its audience, what sort of
lesson is it teaching?

The greatest thing of Lionel is that he never once gives up on Bertie,
even when Bertie has given up on himself. After all of the troubles that
their friendship has overcome, it is so moving to finally hear Bertie’s
words “Thank you, my friend” after he successfully delivers the
speech.

Peter Bradshaw
The Guardian, Thu 6 Jan 2011 15.00 GMT
Some 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
showshow “red carpet fever” is gettingthe 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 upto thejob?
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.

 Most often, we should learn from Bertie.When compared with others, we
often feel ashamed of our own disadvantages and sometimes jealous of
other people’s flame, while few realize that in fact, the biggest enemy
is ourselves.What we need to do is not defeating others, but challenging
yourself, in other words, to be a better you.Don’t be afraid of
failures, after all, life is a tour of experiencing ups and downs.When
at the bottom of a valley, doesn’t that mean every following step is
toward the top?As long as the present you is “richer” than the old you,
give yourself a warm smile and say out aloud, “I made it!”.Never let
others look down to you, not even yourself.
 What impressed me most in this movie is the friendship between Bertie
and Lionel.There’s no denying that we all have a friend who lights up
our life and always be there for us when in need, with whom we form
deeply sentimental attachments, not so much for social status as for a
kind of mutual discovery of each other’s and our own inner life.Lionel
is not just a therapist, but such kind a friend for Bertie.At first,
Bertie is not kind to Lionel and even tries to push him away, but as
they know each other more, these two men begin to fall into step and
Bertie’s faith in his own voice is intensified as well.Finally, Bertie
even treats Lionel as his family member to let him sit in his King’s
Box.
 The war speech Bertie represents at the end of this movie is like a
paper he hands in to his country after so long a time’s hard work, which
means a real King is born.Under the perfect cooperation of Beethoven’s
seventh symphony, people from different classes appear slowly with the
same calm and peaceful smile, no fear, no anger, just bravery.I cannot
help but clapping hands for Bertie and his beloved country.

The Oscar favorite is putting the spotlight on a disabling condition.
Too bad it dangerously misrepresents the cure
By Katherine Preston

The scene moves me most is that Bertie struggles even to tell bedtime
stories to his children. We can see he is desperately controlling the
muscle on his face so he won’t disappoint his daughters. “Once there
were two princesses, Princess Elizabeth and Princess Margaret, and their
Papa was a penguin…” Bertie’s story is quiet different from others.
When the penguin is kissed by his girls, he turns into a short-tailed
and big-winged albatross instead of a handsome prince. We can feel
Bertie’s sadness as well as his love for his children.

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In “The King’s Speech,” the most successful treatment scenes are those
in which Logue gets the king to confront his childhood demons and
express the memories that he has long repressed. Here the filmmakers
emphasize the king’s catharsis as an essential part of his recovery and
his emotional release is tied to the ebb and flow of his speech. If only
stuttering were so easily solved. In reality, stuttering is a complex
problem that forever tempts people to offer simplistic “cures.” Despite
the language of “The King’s Speech” and the words of many of the film
reviewers, there is no cure for stuttering. We know that the stutter is
not caused by an emotional trigger, yet the cause of stuttering remains
a mystery rooted in the machinery of translating our thoughts into a set
of complex bodily movements. Genetic and neurological research continues
and speech therapy remains a journey into the unknown, hopefully with
someone you trust.