The King’s Speech
Structure:
Entertainment:
An uplifting and warm-hearted character study that owes as much of its delight to a charming performance by Geoffrey Rush as it does to a structure built upon depicting a Change Main Character who grows into a positive solution (Start/Good). Appearances are at the heart of the issues within The King’s Speech, and the Duke of York (Colin Firth as Protagonist) does his best to keep up the show by being the King his subjects so desperately need (Story Goal of Being). Bertie’s change develops as a consequence of his relationship with Lionel Logue, a speech therapist who demands the two be treated as equals (Impact Character Throughline of Fixed Attitude). This unique perspective works wonders on the Duke’s personal issues as his father’s choice for succession (Main Character Throughline of Situation), giving the central character the kind of impulsive jolt he needs (Impact Character Concern of Impulsive Responses) to overcome his affliction. Decisions both bad and good (bad on the part of the Duke’s brother David and good on the part of our Hero to continue services with Lionel) propel this film to its Triumphant ending (Story Driver of Decision, Story Outcome of Success). While not overly complex, the film delivers a meaningful example of what can happen when one focuses on the process of doing, rather than worry endlessly upon the end results (Problem of Result, Solution of Process).
Oh, and a brilliant use of Beethoven’s 7th Symphony.
Change, Start, Do-er, Male, Decision, Optionlock, Success, Good, Psychology, Being, Knowledge, Result
Note:
Wondering what these strangely intriguing terms (MC Issue, Story Goal) are all about? They are concepts covered by Dramatica -- a theory that sees story as an analogy to human psychology. Combined together they create what is known as a storyform: essentially, a structural skeleton of thematic dynamics and story points that communicate the meaning of the work in question.