He mooches around as if he’s seen the future: it’s grey.
The top hat he sports at social functions appears to droop like a wilted flower.
At first, The King’s Speech, directed by Tom Hooper, looks awfully familiar, a musty historical drama full of monarchs and period costumes and atmospheric fog.
Peer a bit closer though, and it’s a thoroughly modern tale, the true-life story of a king’s efforts to overcome his stammer in order to face his public, constructed like a contemporary makeover narrative.
He sinks to new sloughs of despond after he delivers a speech at the 1925 British Empire Exhibition; it’s so nervous and jolting it can’t help but, to our ears, prefigure the end of empire. One comes from Down Under, the other is accustomed to looking down at people as they bow before him.
In desperation, Albert and his wife (Helena Bonham Carter) seek help from an unlikely source: an unsuccessful Australian actor named Lionel Logue (Geoffrey Rush), who is working in London as a speech therapist. The tension between them is at least as much temperamental as it is cultural or economic. He calls Albert “Bertie”, begins one of their sessions by asking him if he knows any jokes, insists – rather boldly – “In here, it’s better if we’re equals.” READ: The King's Speech - the real story This Gok Wan-like figure performs a reverse Pygmalion-ism by asking Albert to become less posh.
The newspaper’s lawyer, Tom Blackburn, told the court that Rush, now 66, touched an actress who has not been identified on five consecutive nights in the last week of the production in a way that he had not done before and that made her uncomfortable.
Tom Blackburn, SC, counsel for Nationwide News, publisher of The Daily Telegraph, told the court this touching could amount to "scandalous and inappropriate behaviour". "They are necessarily touching as part of what the production requires," he said.Mr Mc Hugh had argued that the newspaper's truth defence should be struck out because it lacked sufficient detail. Mr Blackburn said: "There can be no more compelling reason for publication than it was true." According to the defence document: "Following the investigation the STC decided that it would never work with the Applicant (Rush) again." Apart from truth, The Daily Telegraph, is also relying on the defence of qualified privilege in defending the defamation case.According to The Daily Telegraph's defence, Rush engaged in further inappropriate behaviour at the party to celebrate the final night of the production at the Walsh Bay Kitchen, next door to the play's venue. It argued the allegations were "matters of proper and legitimate public interest" in the wake of a string of allegations concerning "sexual misconduct, bullying and harassment in the entertainment industry" which started with the Harvey Weinstein scandal.The court heard the actor followed her into the female toilets at the after-party on the final night of the STC's performance of the Shakespeare classic and stood outside her cubicle until she told him to "F ... Upon application by Dauid Sibtain, representing Fairfax Media and Channel 9, Justice Michael Wigney said fears that releasing details of the defence case could further damage Rush's reputation were outweighed by the need for open justice.For the first time the extent of the allegations against Rush can now be revealed."The allegation is not that she was touched in a particular place but she was touched in a way that made her uncomfortable. Daily Telegraph podcast for Tuesday, February 20, 2018.And he said an earlier report which quoted Rush as saying he had a "stage door Johnny crush" on the actress was clearly said in jest.During the party for cast and crew Rush "entered the female bathroom located in the foyer of the Rosyln Packer Theatre, knowing (Norvill) was in there, and stood outside a cubicle" that she was in. The Daily Telegraph argues it had more information about the Rush allegations at the time of publication but did not include them in its reports.This included an allegation that Rush had touched Norvill on the genitals.According to the document, Rush touched the actress "in a manner that made the Complainant feel uncomfortable" during the play's final scene.As King Lear, Rush had to carry Norvill on to the stage as she simulated the lifeless body of the title character's daughter, Cordelia.