Saturday, 28 May 2011
I watched this film for the first time on Tuesday. I did what I always make the foolish mistake of doing and plan to see a film I know is extremely promising and I know I will thoroughly enjoy at the cinema and then forget.
My best friend has it on dvd so admittedley the cinematography that I fell head over heels in love with wasn't done justice, even with a flat screen LCD, however it was satisfying to finally watch it.
Let's start with the clothes. The events are true but obviously decorated and perhaps enhanced for cinematic purposes and the result is a heartbreaking and heartwarming tale of relationships, trust, self-confidence and speech impediments.
I was already bound to love the film as it has Geoffrey Rush and Helena Bonham Carter as lead roles and it's set in the 1930's, (which is arguably my favourite decade in fashion terms). The sweeping fabrics, lustrous embroidery and, who could forget, THE HATS.
Helena's wardrobe was what should be expected of a woman of her stature. Always covered and clean cut but with the uptmost grace and poise. A lot of powder blue and beige and pastels reflecting the decadence and perhaps sweetness in her character was beautifully executed and i was very impressed with how, not only the clothes worked just by being so beautifully created, but also, how they reflected each character.
Bertie's character, (the more personal name for the king), was dressed in very dapper and stiff suits and ties only ever in plain colour: black, grey, white, sometimes brown, reflecting his own demons about his insignificance and how inadequate he felt. You may think I'm reading a little too deeply into the connotations of fabric and cotton stitches, folds, pleats and decoration but this is why I love cinema. Everything has a connotation. Much like a novel it seems that every little aspect of the film, or indeed the book, has a subtle reference to a character trait or idiosyncracy we're supposed to either fall in love with or dismiss. Wallis Simpson for example was much more risque in her wardrobe choices and this was an obvious decision. Wallace, with her sultry glances and flirtatious manner in her few scenes, are enforced by the naked back that's encased in a more glamorous choice of burning sultry shades such as aubergine at the cocktail party. She was renowned for being quite the woman with men falling at her feet and under her thumbs so needless to say she needed a wardrobe to match her sexual nonchalance.
The cinematography was also beautiful shot deliberately with strange angles and beautiful use of colour. In the actual room where they work on Bertie's voice, (played by, sorry I failed to mention, Colin Firth, and wonderfully so), the room in which Lionel, (Geoffrey Rush), makes 'the magic happen' was filled with turquoises and warm ambers which seemed to create such a warm feel despite the room being half empty and lacking in wallpaper.
Over all, needless to say after that rich tapestry of compliments, I thoroughly enjoyed the film and feel any film buff would, or even somebody who just loves a good story and loves some escapism into a world of wealth and decadence.