The King’s Speech is the story of how King George V dies in 1936, only for eldest son Edward (Guy Pearce) to abdicate because of his romance with American divorcee Wallis Simpson (Eve Best).
Second son Albert (Firth) becomes King George VI, but he’ll have to overcome a terrible stammer if he’s to inspire the war effort through that new-fangled thing called radio.
In watching this film, viewers can see that when a person has a leadership position, the ability to speak well is a vital trait one needs. During the film, you can tell that King George himself believes this based on his lament, “The nation believes that when I speak, I speak for them. But I can’t speak.”
In order to overcome his stammer, he sees a speech therapist named Lionel Logue.To compound the difference, we learn that Logue is a self-made man, a would-be Shakespearean actor, who has no formal degree in speech therapy. So you can understand my surprise when he is successfully able to help “Bertie” with his stutter.
Logue’s approach shows some intuitive understanding of psychodynamics and the role of psychic conflict in physical conditions. He is firmly convinced that dealing with the person- al dynamics of his patients is essential to resolving their speech impediments. In fact, that conviction creates conflict between the two primary protagonists
It is Elizabeth who seeks out Logue. We are treated to a cute dance, as Logue does not understand who his prospective patient is.
“Well, we need to have your hubby pop by. Tuesday would be good. He’ll give me his personal details, I’ll make a frank appraisal and we can take it from there.”
“Doctor, forgive me. I don’t have a hubby. We don’t pop. And nor do we ever talk about our private lives.”
It is this last point that will prove crucial to the course of the treatment. In fact, we know that many patients are reluctant to talk about their private lives. In the Duke’s case, that defensive reticence is reinforced by a life spent trying to keep the private life private, a special issue for the rich and famous, for whom confidentiality takes on added meaning. When told that his new prospective patient is the Duke of York, Logue shows more understanding of the situation, but still insists on conducting the sessions in his office.
In his own way, he begins using an analytic approach with the Duke in their initial consultation.
Lionel: “Well, I believe when speaking with a prince one allows the prince to choose the topic.”
With hesitation and stuttering, the Duke answers, “Waiting for me to commence a conversation one can wait rather a long wait.”
These are actually the first words he has spoken to Logue. We can recognize the Duke’s reluctance to speak along with his mildly self-deprecating humor. After a pause, Lionel asks if he knows any jokes and again, with a sharp sense of humor, the Duke answers through his stutter, “Timing isn’t my strong suit.” Despite his difficulty speaking, we can easily find him engaging, even as he shows us his resistance.
Lionel deals with the resistance by going along with it. He offers the Duke a cup of tea and when the Duke refuses, turns to the fire- place to make one for himself, humming as he does it, in essence provoking his patient by demonstrating his own willingness to wait him out. The Duke takes the bait.
“Aren’t you going to start treating me, Dr. Logue?”
“Only if you’re interested in being treated.”
The message is clear that it is the Duke’s responsibility to be an active participant in his treatment, challenging his passive resistance.
He continues, “Call me Lionel.”
This has a double meaning. As we are watching it, it appears to be an attempt to establish the relationship on a personal basis, something that the Duke resists strenuously. Much later we shall see that Lionel has a second purpose. He is covering up the fact that he does not have a degree.
The dialogue devolves around the issue of intimacy. (Throughout these dialogues, the Duke’s speech is generally halting with extreme stuttering.)
The Duke say, “I prefer ‘doctor’.”
Lionel: “I prefer Lionel. What’ll I call you?”
The Duke: “Your Royal Highness. Then, it’s ‘Sir’ after that.”
Lionel: “It’s a little bit formal for here. I prefer names.”
the Duke: “Prince Albert Frederick Arthur George.”
Lionel: “How about Bertie?”
The Duke: “Only my family uses that.”
Lionel: “Perfect. In here it’s better if we’re equals.”
The Duke: “If we were equals I wouldn’t be here. I’d be at home with my wife and no one would give a damn.”
The tension increases when Lionel asks Bertie for his earliest memory.
“What on Earth do you mean?”
“First recollection.” (With increased stuttering and a raised voice) “I’m not here to discuss personal matters.”
“Why’re you here then?”
(Exploding – stammer free) “Because I bloody well stammer!”
When Bertie is openly angry and cursing, the stammer disappears. (It is reminiscent of Tourette’s syndrome.) Throughout the film there will be a suggestion of a connection between aggression and stuttering.
Lionel responds, “Temper.”
“One of my many faults.”
“When did the defect start?”
“I’ve always been this way!”
“I doubt that.”
“Don’t tell me! It’s my defect!”
“It’s my field. I assure you, no infant starts to speak with a stammer. When did it start?”
“Four or five.”
“That’s typical.”
“So I’ve been told. I can’t remember not doing it.”
“That I believe. Do you hesitate when you think?”
“Don’t be ridiculous.”
“One of my many faults. How about when you talk to yourself?”
When Bertie doesn’t answer, Lionel adds,
“Everyone natters occasionally, Bertie.” “Don’t call me that!”
“I’m not going to call you anything else.”
“Then we shan’t speak!”
I’ve given the dialogue in detail to give the flavor of the interaction. Even without hearing the tone, the exchange rings with competition and angry tension. There is interplay of a barely friendly tennis match, with Lionel throwing Bertie’s phrase, “One of my many faults,” back at him; and, with intermittent outbursts of overt hostility on Bertie’s part, in this last instance when he is probed with intimacy. The session ends with the patient walking out, saying this is not for him, but not before Lionel has gotten him to read Hamlet’s soliloquy into a recording device while listening to loud music through earphones. As we can guess, the reading was virtually perfect. It will later convince the Duke to return.
Later in this film, we will learn that the Duke’s problem started in early childhood, in fact at the heart of the Oedipal period. As if to confirm a dynamic speculation, we next see him with his father, King George V. The king, looking regal, delivers a radio address in a voice worthy of Michael Gambon, who plays him. He then forces his son, Bertie, to read the speech into the (now dead) microphone. As Bertie meets a wall of stuttering, the king coaches him like a horse driver with a whip, throwing out comments such as, “Get it out, boy! … Form your words carefully … Relax! … Just try it! … Do it!” What began as encouragement ends as sheer bullying, the future king reduced to a whipped pup.
Based on this dialogue, I am able to learn that communication can be affected psychologically and cause us to develop speech deficiencies or in the duke’s case, causes him to stammer.