The King’s Speech: A Model for Efficient Psychotherapy

"The greatest weapon against tension is our ability to select one thought over one more." – William James



At first glance, The King’s Speech is a film about how Prince Albert, (Colin Firth), hamstrung with a lifelong affliction of stuttering, inherits the fateful role of spokesperson for the free world. His eccentric elocutionist, Lionel Logue (Geoffrey Rush), unflinchingly takes on the challenge of treating the potential King George VI. The stakes couldn’t be higher: Britain braces itself for war with Hitler who has an wonderful bent for speaking his mind. By raising the ante on the large screen the secrets of effective psychotherapy are vividly revealed. Viewers understand how skilled practitioners can dramatically reduce the sting from problems faced by almost all – psychological barriers to communication, fears of failure and residual harm from familial intimidation.



At first things appear hopeless. Before taking on Lionel Logue as a last ditch effort to assist him address the public, the soon-to-be king experienced only abject failure. A pack of extremely credentialed quacks prescribed from smoking cigarettes to filling his mouth with marbles. Logue’s insistence on conducting treatment at his bohemian office ("I’m sorry, my game, my rules, my turf.") and relating on the initial name basis ("Lionel" and "Bertie" – Albert’s royal nickname) threatens to unseat any starting place for collaboration. So, how does a self-taught speech teacher, would be actor, even a commoner from Australia, turn things around – for the client, the monarchy, the British Empire and perhaps the whole free world? What unfolds is really a story of gold-standard psychotherapy.



First of all, throw pomp and ceremony aside. Efficient treatment methods are not predicated on kowtowing to titles or credentials. It depends foremost on the emergence of the trusting alliance between a caring therapist and motivated client. Research shows high success rates among practitioners who possess empathy and unconditional positive regard for his or her clients, independent of their formal training or preferred model of treatment. Logue facilitates the therapeutic bond in a number of ways: He establishes a trusting and collaborative relationship, engenders optimism by citing prior instances of success, exudes unwavering confidence in his client’s capability to change, avoids personalizing or buying into his client’s resistance, and uses non-traditional, multi-sensory methods to enhance interest and involvement in therapeutic activities.



Dismiss the Freudian presumption that treatment success depends upon professionally mediated resolution of deeply rooted unconscious conflict. Understanding that delving into personal matters was abhorred through the royal family, Logue proceeds under a pretense that the causes of the stammer might well be mechanical, not mental. The problem was framed as faulty breathing, and the remedy rested on dedicated practice of tedious speech and breathing exercises; an excellent example of meeting clients where they’re at and taking them where they might not need to go.



Incursions into traumatic childhood memories weren’t the primary ingredients of change, rather steadfast work on skills to cope with present obstacles to satisfying activities. Effective therapists no longer assume authoritarian roles as heir physician; rather they model respect and appreciation for the client’s life and work. They serve their customers as coaches, orchestrating opportunities to practice increasingly proficient skills for coping with life’s inevitable challenges.



Logue uses non-traditional way to capitalize upon Bertie’s a lot of strengths and available resources. His wife Elizabeth is drawn to the treatment by having to sit on the King’s chest throughout a breathing exercise. The King’s proclivity expressing anger is redirected into a humorous exploration of expressive freedom. Using strategies Lionel has Bertie rolling on the ground, noisily jiggling his cheeks, and dancing around the office although singing his thoughts towards the tune of "Swanee River." Spontaneous eruptions of profanity are rewarded as unimpeded phrases, reflecting progress in his goal for competent speaking in public. Within the course of experiencing newfound expressive freedom, Bertie steps out of his isolation and discovers the empowerment afforded by Lionel’s friendship.



One more atypical, yet highly effective psychotherapy tool is the utilization of an intermediate object to catalyze the treatment process. In the midst of an episode of severe stammering, Bertie accumulates an unfinished model airplane. Lionel recognizes his subject’s keen interest and his therapeutic acumen comes shining by means of. If Bertie would accept speak about matters from his childhood, Lionel would permit him to glue the missing wing in place. By anchoring Bertie’s concentration to an object of interest, his speech becomes far more fluid and it becomes achievable to discuss emotionally stressful material. Like Lionel, I have found irrefutable evidence for the deployment of a host of mediating devises – ranging from painting, drumming, dancing, singing and acting — to counterbalance the anxiety provoking demands of traditional talk therapy.



Finally, Logue uses Socratic way to re-shape Bertie’s long-term irrational core beliefs: Stuttering is irreversible; I am weak of character; I am defective; I cannot be a reliable king. Within the course of working with his coach, King George VI discovers he has far additional strength of character than his older brother; that he is able to meet the challenge of war with Germany; that being left-handed and knock kneed as a child aren’t signs of inferiority or defect. Probably the greatest revelation is that in contrast to remaining brow-beaten by the words and teachings of his pompous and hypercritical father, and afraid of his inept and insecure brother, the new monarch, King George VI, reshapes his personal narrative and discovers his own inspirational voice.