COLIN FIRTH -- Please Talk Dirty To Me Again

I just reviewed THE KING'S SPEECH -- my money is on this film to take most of the Oscars.

You can read it at Rover Arts - (roverarts.com) -- the link is on this page, below. Let me know what you think -- have you seen this film, yet? You must!

Things I did not say in that review:

I LOVE COLIN FIRTH. What I find so remarkable about this man (apart from the obvious, I-want-to-run-my-hands-through-his-hair-and-commit-unspeakable-acts of-savage-love-on-his-person) is his ability to rise in the acting firmament as a romantic lead and then veer in any direction as a character actor. 

From Mr. Darcy in Pride and Prejudice and Mark Darcy (ha-ha--we all got it) in Bridget Jones's Diary, to my strong favourite, the character in Love Actually who falls in love with a Portuguese woman and learns the language well enough to finesse his way into her heart and her family's, to a complete about face in last year's Oscar-worthy performance in A Single Man, as a grieving homosexual, replete with stylish Charles Nelson Reilly eyeglasses à la director Tom Ford's artful take on the 1960s.

Did I mention I loved him as the brooding, enigmatic Vermeer in Girl With A Pearl Earring? Did I mention I love whatever he does and that he probably knows it? Did I mention that I'm onto him...he prefers not to smile (but what dimples!) and more often than not presents the promise of something yet to come; a dark, mysterious personality who speaks in smooth modulated tones, stingy with his smiles, as though they represent a naked, caught-off-guard facet of his personality. Or, maybe, he just doesn't think much of his smile. Ah, yes, the wonders of thespian applications.


I didn't mention in my review that if you want to hear Firth's take on unutterably dirty swear words, you'll get a thorough review of them, in TKS -- mind you, as George VI, but, hey, you close your eyes and imagine what you want, right?

I didn't mention that Colin Firth not only tackled the painful stammer of George VI in a masterful way, but actually raised his voice timbre to match the king's. I noted his manner of walking, as well.
Firth really became that monarch and that's the difference between play acting at something, and actually inhabiting a character.
I drank in every pulse at his temple, every throb along the jaw, and I always sink comfortably into all that passionate expression simmering beneath the surface of his eyes.

I didn't mention how much I love Marcelle waves in hair -- Helena Bonham Carter's hair, to be exact. Nor did I point out how very much Claire Bloom submerged her own persona into that of Queen Mary's.
I scarcely recognized Anthony Andrews -- remember him as Sebastian in Brideshead Revisited?
Geoffrey Rush is brilliant as Lionel Logue.

There is rich detail in this film. A veritable feast. One ironic twist comes at the end. As King George delivers the momentous speech to rally his subjects toward vanquishing Germany, the swell of Beethoven's Seventh Symphony, second movement, surges upward with great poignancy.

But enough. Let's just say, I saw the film twice and had a bollocksy good time.