*THE KING’S SPEECH(2010) directed by Tom Hooper | Cinematography by Danny Cohen*

Why Framing Matters

Alright, let’s talk about something that might not seem exciting at first—framing. Sounds like an artsy, abstract concept, right? But trust me, it’s one of the most powerful tools in filmmaking. Framing isn’t just about where characters are placed in a shot; it’s about using space to tell a story, create tension, and evoke emotions—without a single word being spoken.

And one movie that absolutely nails this? The King’s Speech.

"I was very intrigued with this idea of putting Colin’s face in an interesting relation to the negative space… Stammering is about inheriting nothingness, silence, and absence." - director Tom Hooper

If you’ve seen The King’s Speech, you likely remember the uneasy, tense feeling it evoked—perhaps even a sense of claustrophobia. That’s because director Tom Hooper intentionally used framing and composition to visually represent King George VI’s struggle with his speech impediment. How did he achieve this? Here are my own observations:

1. Negative Space: Making Anxiety Visible

King George VI suffered from a severe stammer, and speaking in public was his worst nightmare. Instead of just telling us this, Hooper shows us through cinematography:

empty space framing: At the film’s outset, George anxiously waits to step up to the podium for a public speech. Instead of centering him in the frame, the camera often pushes him to the edge, leaving a vast expanse of empty wall behind him. This imbalance creates an oppressive visual effect that reinforces his isolation and discomfort, making him appear small and insignificant.

symbolic framing: During moments of intense stress, partcularly when he’s facing the public, George is positioned awkwardly within the shot, emphasizing how overwhelmed he feels. Negative space in this context isn’t always literally empty; it can also be filled with a dense crowd, a group of nobles at a party, or a room teeming with political figures. These elements serve as a visual contrast to his internal struggle, subtly amplifying his insecurity and the suffocating fear of public speaking.

Destabilizing Framing: In the setting where he needs to confront his fear, the camera often tilts and shifts, introducing unbalanced angles and distorted depths. The vanishing points extend well beyond where George stands, visually mirroring his growing sense of chaos and disorientation.

2. The Environment as a Psychological Prison

The film doesn’t merely use the grandeur of palace interiors for aesthetic appeal—it transforms them into a psychological prison.

Exaggerated Wide Shots: Many scenes employ wide shots that emphasize the vastness of the royal setting. This not only showcases the majesty of the surroundings but also creates a feeling of suffocation—a gilded cage from which George VI cannot escape.

Rigid Compositions: Large crowds are often arranged to form an enclosed, circular space, either staring directly into the camera or fixated on George. The highly symmetrical, horizontal, and static framing reinforces a sense of formal rigidity. This meticulous precision in composition silently demands, “You cannot afford to make a mistake,” thereby heightening the pressure on every move George makes and amplifying the stakes of his struggle.

3. Framing for interactions

The film’s cinematography doesn’t just show George VI stammering—it mirrors his experience visually with other people.

First therapy session: When George first meets speech therapist Lionel Logue, the composition of their conversation immediately conveys discomfort. They are placed at opposite ends of the frame, awkwardly distant, with their gazes rarely aligning. By deliberately breaking the 180-degree rule—a guideline usually maintained to preserve spatial continuity—Hooper places each character on the “wrong” side of the frame. This unconventional approach creates a sense of disorientation and unease, visually reinforcing their initial lack of trust even before a single word is exchanged.

therapy session in Westminster Abbey: In a poignant subsequent session set in Westminster Abbey, George slowly opens up to Lionel. They decide to conduct their practice session at the very heart of the Abbey—a symbolic setting that literally faces the country, underscoring George’s royal responsibilities. The session is marked by a brief but significant confrontation: Lionel challenges him with a pointed “Why should I listen to you?” and George responds firmly, “Because I have a voice!” This meaningful exchange not only reignites George’s confidence but also cements the trust between the two men.
Following this turning point, the cinematography mirrors earlier framing choices; however, the characters are now oriented differently. Their gazes align, positioning them squarely on the “right” side of the frame—a deliberate visual cue symbolizing the reconstruction of their relationship and the emergence of mutual trust.

Family moments: In contrast, scenes featuring George with his wife and children employ a different framing style. The composition becomes more centered and harmonious, reflecting warmth, stability, and balance. In these intimate moments, George’s stammer is no longer the focal point; he is simply a husband and father in a safe, supportive environment. Every element—from the softer lighting to the close, personal camera angles—works together to convey security and emotional ease, sharply contrasting with the rigid, oppressive compositions seen in public settings.

Final Thoughts: Framing as Storytelling

Framing in The King’s Speech isn’t just about aesthetics—it’s an essential storytelling tool that visually translates King George VI’s inner struggles. Through negative space, symbolic framing, and unconventional composition, the film makes us feel his anxiety, isolation, and the crushing weight of expectation. Whether it’s the oppressive palace interiors, the rigid crowds, or the disorienting camera angles, every shot reinforces his journey, making his eventual triumph over his stammer all the more powerful. Tom Hooper’s meticulous use of framing proves that cinema isn’t just about dialogue or plot—it’s about how a film feels. And in this case, the framing speaks louder than words.

The Power of FRAMING