Movie Critique for The King’s Speech
I watched The King’s Speech for my movie critique at home. This film tells the story of Prince Albert, the Duke of York, and how he overcame a life-long speech impediment with the help of Lionel Logue, a speech therapist from Australia.
The movie begins with Prince Albert (Colin Firth) attempting to deliver a speech written by his father at the closing ceremony of the Empire Exhibition. We find out that the king has already spoken, as well as Prince Albert’s older brother, the Prince of Wales, and now the Duke of York must speak. As he begins the speech, it becomes clear that he has a debilitating stutter.
The scene following shows what I assume is one of many failed treatments by a specialist to …show more content…

Simpson, he is much more polite toward her than his wife.
An example of Selfish Deception (DeVito 109) is shown when King George V is discussing his son Edward’s relationship with Wallis Simpson. He tells Prince Albert that he doesn’t believe Edward’s claims that he has not had relations with Mrs. Simpson. It is clear that Edward told his father this lie in an act of selfish deception in order to protect himself.
Prince Albert (later King George VI) is a good example of Nonassertive Messages (DeVito 111-112). Throughout most of the movie, Prince Albert is reluctant to speak up for himself and demand better treatment from his father and older brother. Although he’s a prince, he takes orders from almost everyone around him. Even his children are able to make him tell a bedtime story when he’d rather not. His self-esteem was definitely low.
Prince Edward displays Disconfirmation (DeVito 114) when he is dealing with his brother Prince Albert. He does not care when his brother tries to get him to come to dinner and brushes him off. When he is abdicating the throne, he doesn’t seem to take into account at all how this will affect his brother. When Albert is attempting to explain why taking care of his duties as king is important, Edward barely listens to him.
During the side story of Lionel Logue’s theatre aspirations, Ageism (DeVito 118) is illustrated when he auditions for a part in a Shakespearian play, and is first ignored by the director and then told that he is too