Colin Firth and Helena Bonham Carter in “The King’s Speech.”
图为《国王的演讲》演员科林·费斯和海伦娜·伯翰·卡特
The King’s English, Albeit With Twisted Tongue
国王的蹩脚英语
By MANOHLA DARGIS
马诺拉·达吉斯
Published: November 25, 2010
2010年9月25日发表
British films that make it to American screens these days often fall into two distinct niches: life is miserable and life is sweet (to borrow a title from the director Mike Leigh, who oscillates between the two). Given its quality headliners and high commercial profile (ding-dong, is that
Oscar calling?), it’s no surprise that “The King’s Speech,” a buddy story about aggressively charming opposites — Colin Firth as the stutterer who would be king and Geoffrey Rush as the speech therapist — comes with heaping spoonfuls of sugar.
如今在美国放映的英国电影通常有两类截然不同的观点：生活悲惨和生活甜美（这是借用了导演迈克·李的说法，他的作品兼顾两者）。《国王的演讲》讲述了一位即将成为国王的口吃者（科林·费斯 饰）和他的言语师（杰弗里·拉什 饰）这对极具魅力的男人之间的故事。考虑到电影出的主要演员和高水平的商业策划（叮咚，是奥斯卡奖来登门拜访吗？）不难预料这部电影上映始便饱受赞誉，获奖颇丰。
The story largely unfolds during the Great Depression, building to the compulsory rousing end in 1939 when Britain declared war on Nazi Germany, world calamities that don’t have a patch on the urgent matter of the speech impediment of Albert Frederick Arthur George (Mr. Firth). As a child, Albert, or Bertie as his family called him, the shy, sickly second son of King George V (Michael Gambon, memorably severe and regal), had a stutter debilitating enough that as an adult he felt compelled to conquer it. In this he was aided by his wife, Eli
zabeth (a fine Helena Bonham Carter), a steely Scottish rose and the mother of their daughters, Elizabeth, the future queen (Freya Wilson), and Margaret (Ramona Marquez).
故事主要呈现出1939年大萧条即将结束，带来世界大灾难的纳粹德国使人们不得不觉醒反抗，这时英国对德宣战，无暇顾及阿尔伯特·弗雷德里克·阿瑟·乔治（科林·费斯 饰）言语障碍的迫切问题。阿尔伯特，家人又称其为伯蒂，是国王乔治五世（人们记忆里是个严肃又有君威的人，迈克尔甘本 饰）的第二个儿子。儿童时期性格害羞，体弱多病；他口吃严重以致长大后他感觉非常有必要克服它。在克服口吃的过程中，他的妻子，伊丽莎白，一位意志刚硬的苏格兰美女（优雅的海伦娜·伯翰·卡特 饰），和他们女儿的母亲，未来的王后伊丽莎白（弗雷亚·威尔森 饰）以及玛格丽特（拉蒙娜·玛姬uneventful 饰），这些女人都给了他帮助。
Albert meets his new speech therapist, Lionel Logue (Mr. Rush), reluctantly and only after an assortment of public and private humiliations. (In one botched effort, a doctor instructs Albert to talk with a mouthful of marbles, a gagging endeavor that might have altered the imminent monarchical succession.) As eccentric and expansive as Albert is reserved, Logue enters the movie with a flourish, insisting that they meet in his shabby-chic office an
d that he be permitted to call his royal client, then the Duke of York, by the informal Bertie. It’s an ideal odd coupling, or at least that’s what the director Tom Hooper would have us believe as he jumps from one zippy voice lesson to the next, pausing every so often to wring a few tears.
在遭遇了一系列的公开和私人场合的羞辱后，阿尔伯特极不情愿的接见了他的新任言语师莱昂内尔·罗格（拉什 饰）。之前一位医生让阿尔伯特嘴含弹球说话，这次矫正说话的努力最终作废，还差点改变即将到来的国王继位仪式。罗格脾气古怪，性格不羁，与阿尔伯特的矜持相得益彰；他一出场便表现夸张，坚持要在自己破旧又精巧的办公室里会面，还要能够用亲切的伯蒂称呼他的皇室客户--当时还是约克公爵的阿尔伯特。这对搭档古怪又合乎理想，或至少导演汤姆·霍伯希望观众如此认为，因为背景从一曲活泼声乐到另一曲，时不时的停顿让观众挤出几滴眼泪来。
To that generally diverting end, Albert barks and brays and raps out a calculatingly cute string of expletives, including the four-letter kind that presumably earned this cross-demographically friendly film its R. With their volume turned up, the appealing, impeccably
professional Mr. Firth and Mr. Rush rise to the Acting occasion by twinkling and growling as their characters warily circle each other before settling into the therapeutic swing of things and unknowingly preparing for the big speech that partly gives the film its title. Before you know it, Elizabeth (Ms. Bonham Carter), the future dumpling known as the Queen Mother, is sitting on Bertie’s chest during an exercise while he lies on Logue’s floor, an image that is as much about the reassuring ordinariness of the royals as it is about Albert’s twisting tongue.
结局普遍认为有趣，阿尔伯特口齿伶俐，滔滔不绝，妙语连珠，顺便还含带着骂人字眼，这被认为让这部相对广受欢迎的电影打上R级。随着他们争吵声音不断提高，费斯和拉什真正融入角之中，他们的专业表演出神入化，引人入胜，随后便开始了在一系列的努力和准备未知的最终演讲--影片名称部分源于此。很快，一次练习中，伊丽莎白（伯翰·卡特饰）未来的皇太后，坐在伯蒂的胸上，而伯蒂躺在罗格的地板上。这个影像如同阿尔伯特渐渐好转的语言一样，表现了皇室渐渐令人欣慰的日常生活。
It isn’t exactly “Pygmalion,” not least because Mr. Hooper has no intention of satirizing the c
aste system that is one of this movie’s biggest draws. Unlike “The Queen,” a barbed look at the royal family after the death of Diana, Princess of Wales, “The King’s Speech” takes a relatively benign view of the monarchy, framing Albert as a somewhat poor little rich boy condemned to live in a fishbowl, an idea that Mr. Hooper unwisely literalizes by overusing a fisheye lens. The royals’ problems are largely personal, embodied by King George playing the stern 19th-century patriarch to Logue’s touchy-feely Freudian father. And while Albert initially bristles at Logue’s presumptions, theirs is finally a democracy of equals, an angle that makes their inequities go down in a most uneventful way.

版权声明：本站内容均来自互联网，仅供演示用，请勿用于商业和其他非法用途。如果侵犯了您的权益请与我们联系QQ:729038198，我们将在24小时内删除。