Visual style

Visual style

Hooper employs a number of cinematic techniques to evoke the King's feelings of constriction. Manohla Dargis thought the feeling of entrapment inside the King's head was rendered overly literal with a fisheye lens, though Hooper denied this, saying he had simply used wider than normal lenses photographing the film.[23][24] Roger Ebert noted that the majority of the film is shot inside, where oblong sets, corridors and small spaces manifest constriction and tightness, in contrast to the usual emphasis on sweep and majesty in historical dramas.[25] Hooper used wide shots to capture the actors' body language, particularly Geoffrey Rush who trained at the L'École Internationale de Théâtre Jacques Lecoq in Paris and "is consequently brilliant in the way he carries his body". Hooper widened his scope first to capture Rush's gestures, then full body movements and silhouettes. The approach carried over to Firth as well. In the first consultation scene, the Duke is framed against a large wall squeezed against the end of a long couch, "if to use the arm of the sofa as a kind of friend, as a security blanket?".[24] Martin Filler praised the "low-wattage" cinematography of Danny Cohen, as making everything look like it has been "steeped in strong tea".[26]
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