---
product_id: 10597401
title: "The King's Speech"
price: "R$210"
currency: BRL
in_stock: true
reviews_count: 13
url: https://www.desertcart.com.br/products/10597401-the-kings-speech
store_origin: BR
region: Brazil
---

# The King's Speech

**Price:** R$210
**Availability:** ✅ In Stock

## Quick Answers

- **What is this?** The King's Speech
- **How much does it cost?** R$210 with free shipping
- **Is it available?** Yes, in stock and ready to ship
- **Where can I buy it?** [www.desertcart.com.br](https://www.desertcart.com.br/products/10597401-the-kings-speech)

## Best For

- Customers looking for quality international products

## Why This Product

- Free international shipping included
- Worldwide delivery with tracking
- 15-day hassle-free returns

## Technical Specifications

| Specification | Value |
|---------------|-------|
| ASIN | B003UESJHE |
| Apparel Closure Type | Pull On |
| Apparel Fabric Stretch | No Stretch |
| Best Sellers Rank | #30,291 in Movies & TV ( See Top 100 in Movies & TV ) #2,945 in Drama Blu-ray Discs |
| Brand Name | Lionsgate |
| Color | Color |
| Cuff Type | Plain Hem |
| Customer Reviews | 4.8 out of 5 stars 5,050 Reviews |
| Global Trade Identification Number | 00013132313597 |
| Import Designation | Made in USA or Imported |
| Is Customizable? | No |
| Item Weight | 3.2 ounces |
| Manufacturer | The Weinstein Company/Anchor Bay Entertainment |
| Manufacturer Part Number | TWC23135BR |
| Neck Style | Crew Neck |
| Number of Items | 1 |
| Pocket Description | Straight Pocket |
| Seasons | fall, winter |
| Style Name | Classic |
| Style Number | TWC23135BR |
| UPC | 013132313597 |

## Product Details

- **Genre:** Drama
- **Format:** Blu-ray, Multiple Formats, NTSC, Widescreen
- **Contributor:** Colin Firth, David Seidler, Emile Sherman, Gareth Unwin, Geoffrey Rush, Guy Pearce, Helena Bonham Carter, Iain Canning, Tom Hooper
- **Initial release date:** 2010-11-26
- **Language:** English

## Images

![The King's Speech - Image 1](https://m.media-amazon.com/images/I/81n9y6ZYEaL.jpg)

## Customer Reviews

### ⭐⭐⭐⭐⭐ Fantastically well acted film & an unforgettable story
*by R***7 on December 27, 2010*

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.

### ⭐⭐⭐⭐⭐ The Best Picture In Many A Year
*by K***I on May 6, 2011*

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.

### ⭐⭐⭐⭐⭐ One Man's Courage
*by F***R on March 20, 2011*

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!

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*Product available on Desertcart Brazil*
*Store origin: BR*
*Last updated: 2026-06-05*