The King's Speech

Tom Hooper, 2010.

BBFC rating: 12A (on appeal)

For anyone who doesn't already know, The King's Speech depicts the relationship between King George VI and his speech therapist over the period in which he ascends to the throne and the start of the second world war is declared. The reason Bertie (as he is known to his familiars and, to his chagrin, the therapist) needs the therapist is his stammer, which has destroyed any previous attempts he's made at public speaking (whether in person or on the radio).

It's interesting for being one of few films to have its initial rating overturned on appeal. Given a 15 certificate at first for language, its rating was dropped to 12A after the producers challenged the BBFC. The key line from the second decision, I think, is "The strong language is not aggressive and not directed at any person". This is the difference between The King's Speech and Made in Dagenham; the producer of that film complained about its 15 certificate, too, but the BBFC's decision on that film notes that "Generally the uses [of 'fuck'] occur as part of heated exchanges between characters, occasionally they are angrily directed." It's the intent and the subject of the speech that matters. And Bertie is expressing only his own frustration, about his inability to express himself, at himself.

Colin Firth is expected to win the Oscar for this performance, and he indeed wholly convincing - as he was in last year's A Single Man. And, like that film, The King's Speech is a self-contained piece, as narrowly focused as the poster picture above, which perfectly achieves its aims. However, it's weirdly insubstantial, especially given the gravitas of its subjects. Possibly this is because, as Andrew Collins points out, there is not a surprise in its entire length. And  it's not a film I would ever bother seeing again; nor is it one that needs to be seen at the cinema. But it's good while it lasts.

Made in Dagenham

Nigel Cole, 2010. BBFC rating: 15.

1968 was over a decade before I was born. But even so I found it hard to swallow the fact that trade unions and other supposedly progressive voices were opposed to equal pay for women, a notion that wouldn't now be seriously raised by anyone outside the confines of 'Have your say'. That the Equal Pay Act of 1970 was introduced two years later owed much to the walkouts by female workers at Ford's Dagenham plant which are the subject of Made in Dagenham.

Rita, the accidental head of this campaign, is played by Sally Hawkins, who played the slightly irritating lead in Mike Leigh's recent Happy-Go-Lucky. She's much more likeable and rounded in this role, growing in confidence and conviction as she takes on increasingly difficult authorities in the fight for equality. Her relationships with her children and husband, strained by the amount of time she dedicates to her cause, is moving and believable. The sub-plots intertwine naturally with the main narrative while exploring interesting and related issues. And there's a nice, unobtrusive soundtrack to boot including the lovely, underappreciated Small Faces' chart-topper All or Nothing. All this adds up to an historically interesting and extremely well-crafted film. In that sense, though not in visual or dramatic style, it reminded me of earlier this year's A Single Man - another film about a time where the intolerance of things now unremarkable (in that case, being gay) was widespread.

Although it's easy to look back forty years with amazement at now unimaginable sytematic discrimination, as I write this senior clerics are, apparently seriously, debating whether female bishops should be allowed. So perhaps we shouldn't be so quick to sneer at the sexist sixties - and perhaps Made in Dagenham has some messages we can learn from today. Not least of these messages is a counterpoint to the tiresome stereotype of Essex girls - to whose pride and determination, this film makes clear, we are indebted.