"The King's Speech" Framing

[Bonedog]

I've been wondering about the cinematography in "The King's Speech" for some time, specifically the scene where Rush and Firth have their first meeting. Towards the beginning of the scene there is this sequence where they sit across from each other and converse.

My question has to do with the lead room in the second two shots. It seems to me that conventional framing would dictate that in the second shot Firth be positioned on right side of the frame since his eye line is directly towards Rush who is obviously to the left side of the camera. Then the same with Rush in the third shot; conventionally speaking he should be on left side of the frame since is eye line is running to the right. If I am correct, the framing of these shots leaves the areas to respective right and left of both actors as dead space.

Please realize, I understand that conventionally lensed films do not make for good cinematography. But I also know that when rules are broken there are good reasons for doing so. I am trying to understand why this framing was chosen.

 

[David G. Smith]

Well, spatial placement and relationships can say a lot. I was a tad bit taken aback by the frequent use of wide angle lenses in the flilm, but after a second viewing it made more sense. In the film, the King emotionally has to deal with his feelings of inadequacy while have to fill a very important position. I think that much of the framing in the film visually reinforced the Kings dilemma. The first shot shows the separation of the two characters by class, as well as the King's reticence to seek help, visually. I think the remainder of the movies uses similar techniques to visually represent the Kings feeling visually.

 

[simonpwood]

The framing in this scene highlights their mutual discomfort (the class difference).

Also, a lot of the framing of Berties (Colin Firth) character throughout the film has him facing left when he is left on the frame (like the second picture above) or facing right when he is on the right of the frame, which is not usually done with conventional framing as you would usually want the characters to have some head room in the direction they are facing, and not have negative space behind them. Essentially this highlights his particular problem, that he cant get his words out (he doesn't have any room in front of his mouth).

 

[GND]

I was going to say pretty much what the two replies above me did. I agree with them and will add that on the director's commentary, Tom (director) explains the reasons for choosing this framing and others like it in later scenes in depth. Basically to have the audience feel Bertie (Firth)'s uncomfort and distance or "wall" between he and Lionel(Rush) at the start in this scene...then later in the film the framing (in parts) gets more conventional.

 

[Bonedog]

Hmm I'll be interested to re-watch with commentary when I get the chance. I did notice that the framing was used other places but it stood out the most for me in this scene. The wide angle took me by surprise too, it seemed as if Rush's face was nearly distorted into fisheye in a couple shots though I don't remember which ones.

 

[Jordan Scott Price]

The actors' placement in the singles relative to the wide is actually correct by traditional standards, but the camera has been placed just barely across the 180, which is marginally disorienting, I agree.

I haven't even seen the film, and I am in love with the cinematography already. I've been meaning to Netflix this forever.