The King's Speech

I can enjoy fine movies with minimalist acting. Where the actors spend a lot of time saying nothing, but looking very serious, or hurt, or angry or whatever. The kind of the thing that lots of young American actors like to do these days. Where emotions are bottled up. This can be very effective. But sometimes, you just want to have a good, old-fashioned wallow in the kind of meaty, no-holds barred acting that, frankly, the British do best. And the best, most satisfying example of that this year is THE KING'S SPEECH, a terrific, interesting, engrossing and surprisingly emotional film about a monarch who stutters. In the years between the two great wars of the 20th Century, King George V ruled England and its colonies with a stern disposition and unshakeable self-confidence. His eldest son, Edward, is a dashing playboy type, but looks forward to his time on the throne. Younger son Albert ("Bertie") is shyer and more conservative...in large part because he has a rather pronounced stammer that years of consulting experts has done nothing to cure. He has a strong wife in Elizabeth, and dotes on his daughters Elizabeth and Margaret. And he has no ambitions to be king. His wife convinces him to start consulting with Speech Therapist Lionel Logue, a commoner with some highly uncomment techniques. Not only does he work on the mechanics of speech, but he believes that stammers also come from a psychological place as well. He's a sort of psychologist too. He works with the prince, insists that two men work on a first name basis, and through sheer force of his eccentric personality, begins to wear the reserved Albert down to the point where we learn much about his upbringing. And then, as WWII nears, George V dies and Edward serves only briefly, because the scandal of his love affair with divorced American Wallace Simpson forces him from the throne...and George is horrified to find himself about to be crowned. And eventually, George will have to give perhaps the most important nationwide radio address anyone had ever given in England up to that point...a speech rallying his people to the cause of war. He can ill afford to stammer his way through a speech that needs to inspire confidence and patriotism. It's a fascinating story, utterly engrossing. But it's the uniformly great acting that elevates this to such a high level. Small but effective parts are handled by folks such as Michael Gambon (King George V...excellent), Derek Jacobi as the archbishop, Guy Pearce as King Edward (he's quite good) and Jennifer Ehle in a small but delightful role as Logue's wife. Helena Bonham Carter is more restrained than usual, but also very effective as the Queen. She clearly dotes on her husband, which makes her very sympathetic, yet she also shows that the trappings and conventions of royalty suit her. The two appear to be that seeming rarity, a royal couple that are actually happy with each other. But all this great acting is just icing on the cake for the pure movie-going joy of watching Colin Firth (as King George VI) and Geoffrey Rush (as the uncommon commoner) go toe-to-toe. Both actors are at their finest. Rush can incline towards the hammy (as in the PIRATES OF THE CARRIBEAN movies) but when the script matches his natural characteristics (such as the unappreciated QUILLS)...he's just a joy to watch. His timing is exquisite and his commitment to his work is amazing. And Firth, though a more "restrained" actor, chews into his role with understated ferocity (this seems to make no sense...but see the film and you'll understand). He makes his Bertie so sympathetic...but rather than just playing a shy stammerer, we see his integrity, his wit, his pain and his explosive temper. His struggle against the casual attitude Logue takes with him is so much fun to watch, as are the great moments these two have together when they discover how well the King speaks when he is cursing. The two develop an odd but deeply affecting friendship. I don't know if the film presents history accurately...but it sure presents history as it would be nice to believe it happened. Both actors should be slam dunks for Oscar nominations...and Firth will be hard to beat. It may be his best "upper class British" performance to date. The film is a bit manipulative. The climactic moments being heavily punctuated with Beethoven seems a bit heavy handed. Some of the dialogue is just TOO good to be believed. But the two actors and their co-stars plow right through any weaknesses or pandering to the audience. A measure of the success of the film...my 23 year old son and 18 year old daughter loved it. For a film so far out of my son's comfort zone to grab him to the extent it did says a lot. This is a film worth seeking out and seeing immediately.

Colin Firth, Geoffrey Rush and Helena Bonham Carter turn in virtually flawless performances in this virtually flawless film which has a shot at making the Top 100 of All Time. Firth plays King George VI, nee the Duke of York, familiarly known as "Bertie" to his family, who reigned over the Great British Empire from 1937 to 1951. As the second son of King George V and Queen Mary (she for whom the ocean liner was named), Bertie was "the reluctant King," who came to the throne after his brother David (King Edward VIII, nee the Prince of Wales, subsequently the Duke of Windsor) abdicated the British throne to marry "the woman he loved" the twice-divorced Wallis Simpson with whom he had been carrying on a dalliance for years. Mrs. Simpson continued affairs even while she dated the King, most infamously with Joachim Von Ribbentrop, one of Hitler's intimates, who sent her a fresh bouquet daily for years. King Edward VIII was a clubman, a gambler, a womanizer and a moral and intellectual lightweight who was remarkable for his vacuous conversation, his patronizing racial and religious attitudes, and his opinion of Hitler as "not such a bad chap." In short, he was the wrong King at the wrong time, that being the prewar 1930s. With the world mired in Depression and being ruled by racialist dictators, it is an open question how he, as moral leader of Britain, would have responded to World War II. History tells us that the imperious and remote George V wanted Bertie to ascend the throne in lieu of David in any case. Bertie, who was "prone to tears" as a sensitive child, was raised at a distance from his parents (quite common in those generations), was a left-hander forced to be a "rightie," was put into uncomfortable braces for being "knock-kneed," was subjected to ongoing physical and emotional neglect by his Governesses, and was teased by his siblings and peers for his stammer, which worsened as the years progressed. His father, unkind though well-meaning, berated him for his speech impediment and forced him to speak publicly, a humiliating experience. In 1926 Bertie made the acquaintance of Lionel Logue, an unorthodox speech therapist who helped George VI become a great public speaker. Logue also became a close friend for the rest of the King's life, and aided him in making most of his public addresses. Most of THE KING'S SPEECH focuses on Bertie's unexpected ascension of the throne and his duty to lead the British Empire in time of war using his words alone. In many ways George VI was unlucky; though media was coming into its own, in his reign particularly every speech was live, with recording and editing techniques that were exceptionally primitive. Given the era, a stuttering King would have been seen by most of his billion subjects as weak. And George VI faced a crisis in World War II that no British monarch has faced before or since. Thus, Logue's task was a herculean one. Rush plays the Australian Logue brilliantly, eschewing a "Crocodile Dundee" accent for a caustic irreverence. Though this sometimes enrages the King, Logue speaks to him man to man not man to monarch, gaining his trust. He becomes the King's true brother. Their relationship, serious and comic by turns, makes this a "Buddy Film" nonpareil. Firth is spectacular as the King. He never misses a beat, despite the difficulty of invoking a stutter where one is not present. He also shows us a kind, gentle, occasionally truculent, and altogether human King George VI, a man deeply in love with his wife and daughters (one the present Queen, Elizabeth II), dedicated to his nation, pained by his brother's lack of responsibility, agonizing over assuming a role he never wanted, and terrified of failing his subjects. Helena Bonham Carter plays Queen Consort Elizabeth (the Queen Mother) as a warm iron hand in a velvet glove. Elizabeth has no pretensions at all; she simply loves her family, and embodies the old adage that "Behind Every Great Man There Stands a Woman," never failing to support and wisely counsel her husband, even when she takes him to task at one point for being unduly rude to Logue. "You apologize," she calmly advises, when he asks her what to do. She dries his tears. She stands by her man in the best way imaginable. Of everyone he knows, only she intimately feels the loneliness he knows in being the King-Emperor. This is a film well worth seeing, and seeing many times, with the kind of depth that ensures its status as a true classic.

I saw this film, which I have pre-ordered on Amazon, three times already; and I daresay I shall watch it many more times. "The King's Speech" is adult entertainment in the most noble sense of the expression. The script is outstanding in its intelligence, and if there were an award for the best use of profanity in context without giving offence, I would definitely give it to "The King's Speech." The film is simply splendid! Without benefit of car chases, explosions, or overly-spectacular CGI, the audience is riveted--indeed, held spellbound--for 119 minutes by a simple scenario: a wife seeks professional help for her husband's speech impediment; he undergoes therapy and with persistent practice, he overcomes--if not conquers--his problem despite the low expectations of the public and, most of all, of himself. That the wife is the Duchess of York and the husband is the future King of England is irrelevant and at the same time empowering: the story contains a universal truth; the future king, like the kings of Greek tragedy, represents every man as he learns through suffering. Since the actors have been deservedly praised to the skies, I shall comment only upon a few points that impressed me. Colin Firth's portrayal of Bertie is so believable, because he conveys the unimaginable physical tension of a man whose thoughts are entrapped within his body; and paradoxically, Firth does so with ease; there is nothing forced about his portrayal. Geoffrey Rush, who plays his therapist Lionel Logue with sensitivity and humour, is certainly Firth's equal. It is a shame that a double Oscar could not have been awarded. Both Firth and Rush provide an equilibrium that would certainly be upset if either one were taken away (or if one were one replaced by another actor). I was especially struck by Rush's ability to portray a not-very-good amateur, when he tries out for the part of Richard III; he suggests an ever-so slight hamminess without actually hamming it up. A difficult challenge for any actor, much less one of his stature! I also thought that Helena Bonham Carter, who exhibits a combination of privilege and propriety tempered by kindness, was a perfect foil for Jennifer Ehle (Rush's wife), who exhibits similar characteristics and also understands the boundaries of decorum: a wonderful moment comes when a surprised Ehle politely asks the royal couple if they will be staying for dinner, and the Duchess graciously thanks her and cites a previous engagement as if it were a necessary annoyance. One of the things that British filmmakers do so well is to cast supporting roles with top-drawer actors, disguising them thoroughly. I found myself reading the credits the first time around and exclaiming to my friend: "Good Heavens! Anthony Andrews was playing Stanley Baldwin. I certainly didn't recognise him!" Claire Bloom also inhabited the persona of Queen Mary so thoroughly that I didn't know it was she until the end credits. It took a few minutes for me to recognise Derek Jacobi as the Archbishop, and I recognised Michael Gambon as George V only by his voice, and a certain look in his eyes. Each submerges his own personality into his respective role. Unfortunately, the same cannot be said for Timothy Spall, who provides what I consider the only false note, giving me the impression that he is no other than Timothy Spall, pouting, and acting Churchillian. I found it most expedient to avert my eyes whenever he came on the screen and focus on all the other things to love about this movie. This film combines pathos with humour. My friend and I were blubbering (as silently as possible) and laughing (out loud) all the way through it. And because of the skills of Colin Firth and Jeffrey Rush in conveying the feelings of Bertie and Lionel, our emotional responses were spontaneous and not prised out of us, as happens too often in films nowadays. I was especially moved as the film reached its climax, knowing the tragedy that was about to strike Europe, the people of England, and indeed the world. I therefore found the Allegretto movement of Beethoven's 7th Symphony to be especially appropriate as King George reads his speech. The music acts as a funeral march and it emphasises the gravity of the situation and the gravity of the actual words which King George VI, via the radio, delivered so eloquently to the world, giving it the courage to persist in one of its darkest hours. The King's speech remains emblematic of one man's courage. It serves as an inspiration to us all!

If you don't already know, this is one of the greatest movies of the 21st Century. The acting is fabulous,screenplay is supurb, costumes beauutiful, sets 100%. I will gush no further. I am a huge movie buff; have probably seen Citizen Kane a dozen times.

There is something to be found here for everyone in this brilliant and powerful movie. Entertaining on all fronts, both dramatic and laced with great humor and irony, it leaves one with a sense of euphoria and triumph. While comparatively little was known in America about Queen Elizabeth's father before the release of this masterpiece, there has been an on-going interest in her late uncle, the ruling monarch before WWII, who abdicated his throne in favor of the American woman he loved. His radio speech to England at the time when he removed his crown, and handed it over to his reluctant and ill-prepared younger brother, is perhaps one of the most listened to still today, not only by the British, but other nations as well. It is a speech that may be consided as having changed the course of history in such a way as to bring Queen Elizabeth to the fore as one of the most important rulers today in modern history. The pivotal point of the story in this movie lies here with her father, who had a debilitating speech impediment, and was hardly able to make a brief announcement let alone a speech of any kind. With the tenacious help of his wife, the future Queen Mother, they go together in search throughout the kingdom for royal physicians, who may hold the key to a cure. This depressing and increasingly "grim-go-round" brings them as a last resort, into the office of an unconventional speech therapist, who is regarded as an eccentric crackpot, a nonentity and possibly a fraud. Or is he? This is for the viewers to determine. The first thing this man does is to grab "royal protocol" and place it outside his office, solidly parked near the umbrella stand until the office visits are over. The results are not only hilarious, but appear to be beneficial and involve hard work on both the part of the doctor and the patient as they thrive to become a working team and establish a friendly understanding. In the midst of this true historical anecdote, the movie shows a dark and frightening contrast to the struggling king in the form of Hitler, a foe who has no trouble speaking whatsoever, using a documentary newsreel at the time showing him rallying the crowds, sending cold chills down some of the viewers backs. It is now a match between "Good versus Evil", and the rest is history. As for the king's speech, broadcast on the radio and listened to by England and the world-at-large, announcing that Britain is at War with Germany, it is perhaps one of the most intense and powerful ones ever given (On a personal note, this was a great topic for a small international speaking club located at UNICEF House in New York. After giving a short 5-minute address on the background history of the movie, I highly recommended that everybody would benefit in some way from watching it. My fellow members are from Africa, Europe, Asia and the Islands and while we are all fluent in English, it can be difficult for us to stand up in front of an audience and "speak out" although we are a friendly group, always encouraging and supportive). All to say, "The King's Speech" is a wonderful and important reminder to all of us that we have "A Voice".

THE KING'S SPEECH may not be a truly great film but it comes close. The acting is splendid, the costumes well-researched, the background score including some classic pieces of Mozart and Beethoven is inspiring, and Tom Hooper's direction is admirable. What hampers the film is the fact that its protagonist, a stuttering man (Colin Firth) who must ascend the throne when his brother (Guy Pearce) abdicates, is really quite a dull man with a fierce temper and an inability to express himself as a person until he meets the challenge of a speech therapist. But for all his courage in overcoming his handicap, he keeps the story from moving forward until the last thirty minutes when the story's stature becomes more important because of the impending threat from Hitler and WWII. However, it must be said that Colin Firth plays King George VI with gusto, matched only by Geoffrey Rush as Mr. Logue, his therapist. The two of them create sparks in many a confrontational moment of truth, and each has a firm grip on their roles. Equally proficient, but less noticeable and given a smaller amount of screen time, is Helena Bonham Carter as the gracious and adoring woman who stands by her stubborn man and presides over a household of two children, one of whom is a future Queen of England. In a lesser but still rich role, Guy Pearce is excellent as Edward VIII. But unfortunately, because of the film's preoccupation with King George's speech impediment, the film moves forward at a snail's pace and only becomes more urgent during the final half hour when the world awaits the king's reaction to the news that Great Britain has failed to prevent war with Germany. All the technical merits make the film outstanding in various departments, particularly the cinematography, costumes, settings and music. Colin Firth deserved his Oscar and Geoffrey Rush would have deserved a nomination as a Best Actor rather than Best Supporting Actor since his role his clearly a co-starring one. More importantly, the film does a grand job of humanizing the Royals.

This is an excellent film that explores the ability to overcome adversity and the power of relationships in providing the support needed to overcome adversity. Colin Firth plays Prince Albert, the Duke of York, who later becomes George VI. Helena Bonham-Carter plays his wife Elizabeth. Early in the film we see that the loving relationship between Elizabeth and her husband, Bertie, as he is called by family members, is in stark contrast to the chilly formal relationship that Bertie has to his father King George V and his mother, Queen Mary. Michael Gambon plays King George V, a not unsympathetic figure, but certainly completely in the dark in understanding the stammer with which Bertie struggles. It is Elizabeth, Duchess of York, who pursues some efforts to help her husband it is she who makes the first contacts with Lionel Logue, an Australian, who came to London after World War I. Gradually a relationship is built between Lionel and Bertie on which the speech therapy can progress. But there is an underlying reason why this story is of such importance. England faced a great challenge with the growth of Nazi Germany and the future was uncertain. In addition, after the death of George V, Bertie's older brother Edward became king. King Edward VIII was not mentally strong or emotionally mature enough to serve as king and he abdicates the throne to marry an American woman who had been twice divorced. Guy Pearce is excellent as Edward VIII, a charming and sophisticated man with limited intelligence and strength of character. Thus Bertie and Elizabeth are thrown into roles they never expected to inherit and Bertie, as George VI, must be the voice of authority and reassurance as England enters a tense and unsure time in relationship to Nazi Germany. This is the historic background on which the film is based, but the film actually spends the majority of time exploring the interactions between Bertie and Lionel as Lionel helps Bertie explore the emotional underpinnings of his stammer and develop the skills to overcome the disability. Elizabeth finds Lionel and begins to believe in his services but the relationship with Bertie has several starts and stops. Lionel comes to understand that Bertie has the moral character and determination to lead England should a war arise with Germany and Bertie comes to judge Lionel by the services he offers and the devotion he has to Bertie rather than by his credentials. The room in which Bertie and Lionel work is certainly worth mentioning since it is a large room with skylights and about 20 layers of wallpaper scraps clinging to the walls forming a fascinating collage that serves as the background of much of the human interaction in the film. Lionel is extremely protective of the process he undertakes with Bertie and even his wife, played by Jennifer Ehle, does not know the true identity of this client. All the actors were superb and Colin Firth is excellent as George VI but Geoffrey Rush was spectacular as Lionel. The film is excellent and its core message of teamwork and trusting relationships in overcoming adversity rings true.

What a remarkable movie. I know I've always wondered what went onto behind the scenes in the lives of royalty and the King's Speech gives us a wonderful view. It's said in legends that a wounded hero is the only one who can save us, and that's exactly what happened during WWII with King George IV, or Bertie as his family called him, and Lionel Logue, a speech therapist. The King's Speech: Road to the Throne, tells the story of King George the IV, who must take over the throne because Edward VIII wants to marry Wallas Simpson, which would render him ineligible to rule. Considering how courageous Bertie was in first overcoming his stuttering, and then going on to lead England through a vicious war, I think Wallas did the English people a favor. From what I saw of the movie, Edward appeared to a mean-spirited man, more interested in his creature comforts than anything else. One might speculate that he uses his infatuation with Wallas to get out of doing the work of being a king. This is the story of the friendship between two men, and how a fraud saved a country. Lionel didn't have the degree it was assumed he had, but to his credit, he never claimed to be a doctor. What he did claim was that he could help Bertie and he did. Lionel probably gave Bertie the first unconditional he'd ever had in his life. I don't begin to know what might cause stuttering, but I do know that Edward's constant teasing of his little brother's affliction couldn't have made it any better. The movie shows us what it was like for Bertie as a man, to be afflicted with the one thing that he can't have, if he wants to give courage to his nation during war times. Lionel gives Bertie the courage to reach beyond his fear, and to rise up in order to save his nation, to show the most important role a ruler must live, and that's to give his people a role model when they've lost heart. As a movie, both the role of Bertie, played by Colin Firth, and the role of Lionel, played by Geoffry Rush, are played superbly. Firth brings such a vulnerability to Bertie, that to see him rise up to meet his challenges is wonderful. Rush plays Lionel with just the right combination of dignity and playfulness, skillfully walking the edge of innate brilliance and madness. It took me a while to see this movie because, frankly a story about a king with a stutter than the guy that fixes him, sounds boring the extreme. I'm so glad I took the time to watch it, and really only because of the awards and great reviews it received. It's a movie that stay with me for a long time.

Wonderful film, great characterisation, neatly paced, well plotted, fantastic production values, won its Oscar against strong competition. Sadly someone clearly hated the Archbishop of Canterbury and was allowed to be very clumsy with Derek Jacobi's lines! Extremely poignant, as the story was well known, but only from the outside. There are many good insights and historical annecdotes. Many great moments that decorate really difficult time. RECOMMENDED

実在の人物の物語であるというリアリティがある作品です。立場に対するプレッシャーと吃音発症の負の連鎖はとても痛々しいですが、それを克服する過程が見る人に勇気を与える作品だと思います。エンターテイメントを通して吃音への理解を深められたと感じています。

La película viene en audio latino El estuche llegó de buena calidad Y la portada también Este título tiene que estar en cualquier coleccion

Good movie! Superbly acted!

Réalisé par le britannique Tom Hooper (aussi aux commandes des Misérables version 2013), Le Discours d'un Roi ne rafla pas moins de 4 Oscars en 2011 : Meilleur Film, Meilleur Réalisateur, Meilleur Scénario et Meilleur Acteur pour Colin Firth. L'histoire, tirée des mémoires de Lionel Logue, se centre autours de l'alors Duc d'York, fils du Roi d'Angleterre George V, et se déroule avant qu'il ne devienne George VI, dernier Empereur des Indes et premier Chef du Commonwealth. Attend de bégaiements, il dut faire appel à un australien aux méthodes inhabituelles afin de vaincre cet handicap, barrière entre sa fonction et lui, mais surtout entre un peuple et son Roi. Le film présente tout d'abord un intérêt historique évident : l'intimité d'un Duc puis d'un Roi, les changements sociétaux de l'époque (le souverain, avec l'apparition de la radio puis de la télévision, voit son rôle évoluer, passant d'une apparition majestueuse de temps à autre à une voix, puis une image, présente dans chaque foyer), mais également dévoilant le balet des hommes de pouvoir, de l'apparition d'un Churchill imposant à l'Archevêque de Canterbury, en passant par Edouard VIII, dont le règne fut de courte durée. Enfin, la situation de plus en plus explosive en Europe n'est pas occultée, le nazisme devenant un sujet de plus en plus préoccupant pour la royauté britannique. Cependant, Tom Hooper ne commet pas l'erreur de plomber le rythme du film par une avalanche de références historiques qui aurait pu s'avérer rapidement indigeste. Au contraire, l'Histoire, présentée de manière fluide, entraine avec intelligence le récit et en devient une base aussi solide qu'exploitée avec talent, dévoilée par moment par petites touches aussi discrètes que bien placées (citons le passage où Firth annonce en pleur à sa femme qu'il n'est rien d'autre qu'un marin : en effet, George VI servit dans la Royal Navy au cours de la Première Guerre Mondiale). Cependant, au delà de son côté historique, Le Discours d'un Roi se place avant tout d'un point de vue humain, dévoilant avec une pudeur admirable l'homme derrière la couronne : le Duc d'York, écrasé par le fardeau de son héritage royal, soumis à un père autoritaire, en perpétuel retrait d'un frère ainé aventurier et coureur de femmes, et traumatisé durant son enfance par une gouvernante malsaine et par ses défauts corporels (des genoux cagneux qui l'obligèrent à porter des années durant des coques de métal, et le bégaiement, évidente manifestation physique de son mal être). Un homme tourmenté, doutant de lui-même, rêvant d'être différent (l'histoire raconté à ses filles sur le pingouin se transformant en albatros aux immenses ailes en est le parfait témoignage), mais également se battant en permanence contre ses multiples failles, avec courage et ténacité. A ce titre, je ne peux que saluer le talent d'acteur évident de Colin Firth. Emprunt des fêlures et tourments de Georges VI, il disparaît totalement derrière le rôle, peignant le souverain dans ses moindres détails, d'un clignement d'œil fugace du à son défaut d'élocution à des crises de colère aussi violentes que brusques. La scène d'introduction est ainsi magistrale, l'acteur parvenant en quelques minutes à nous faire sentir tout le mal être du Duc d'York. Remarquable ! Face à lui, interprétant Lionel Logue, Geoffrey Rush est également parfait, orthophoniste talentueux rêvant naïvement des planches, tour à tour espiègle et intraitable quant à ses méthodes, mais toujours honnête et juste. Un rôle dans lequel Rush se coule à la perfection, son talent théâtrale n'en émergeant qu'avec plus de force. Autour de ce duo central gravitent de nombreux seconds rôles qui ne déméritent pas face aux deux acteurs oscarisés : Helena Bonham Carter (tout en finesse et retenue, bien loin de ses compositions habituelles), Guy Pearce (racé et instable) ou encore Michael Gambon (impérial en George V). Cet somme de talents est alors mise en scène avec brio par Tom Hooper, dont la caméra révèle avec simplicité et justesse le portrait de ce Monarque. Au delà de l'aspect émotionnel, les prises de vue sont étonnantes de fluidité, prouvant que le réalisateur, malgré un seul long métrage à son actif avant le Discours d'un Roi (The Damned United), sait également maîtriser l'aspect technique d'un film. Jouant avec justesse sur les contre-plongées et les plongées, il parvient à nous révéler l'embarras ou le triomphe de George VI en une seule prise. Réussite qualitative tant sur un plan historique et sentimental que sur un plan technique, Le Discours d'un Roi n'usurpe en rien la flopée de récompenses qu'il récolta à travers le monde, et mérite incontestablement l'achat. Côté pratique, le coffret contient le dvd et le blu-ray, additionnés à un troisième disque de bonus, ainsi que les Mémoires de Logue dans un livre conséquent et le poster du film. Le coffret en lui-même, à défaut d'être gros, est solide et élégant de sobriété (le seul micro présent sur l'avant du coffret en dit plus long qu'une avalanche d'images).