ANNA AND THE KING

I thought it was going to be tough sitting through "Anna and the King" without thinking of Deborah Kerr and Yul Bryner breaking into song as they did in the musical version of "Anna and the King of Siam"(1946) better known as "The King and I"(1956). Truth be told - I only thought of them twice - right before the movie started and when Anna (Jodie Foster) danced with the King (Chow Yun-Fat) at his coming out party for the Western powers. I Could Have Danced All Night was definitely on my mind. Despite this one unavoidable, though not unpleasant, distraction, screenwriters, Steve Meerson and Peter Krikes, and director Andy Tennant chart a steady course that revitalizes the classic story of the clash of wills and cultures by going back to the original memoirs of Anna Leonowens for their inspiration rather than the book by Margaret Landon that was the blueprint for the other versions of her life. "Anna and the King" is a visually stunning panoramic recreation of a lost age filled with elements of cultural history, court intrigue, and romance at every bend of its story.

The year is 1862. British imperialism is on the rise on the Asian continent. King Monghut of Siam, is viewed by his people as a god, regarded as a barbarian by the Western powers, and beloved by his many wives and fifty eight children. He believes that education will carve a path through his country's backward past and lead Siam to its future in the modern world where it will be able to resist the influence of foreign colonialism. Anna Leonowens, a recently displaced British widow of an English soldier, comes from India with her son, Louis (Tom Felton), takes a position as the teacher who will cast the first beacon of light on the world that exists beyond the borders of Siam. At the heart of "Anna and the King" is the unconsummated romance and cross cultural influences that Anna and Monghut have on each other. She learns the patience of a culture steeped in timeless religious devotion, while he learns the rigors of diplomacy through the rules of Western etiquette and protocol. The familiar scenes of Anna's stubbornness and the King's growing admiration for a woman making her own way in the world is played out against the backdrop of impending war. Threats of foreign invasion, guerrilla raids on the frontier borders, and betrayal from within give "Anna and the King" an edge lacking in the earlier versions. The tale of Tuptim's love for another is given a more realistic and brutal treatment that also adds an element of tragedy to the movie. Near the end of the film, one false note makes the King look like he may not survive without the pluck of Anna's spunky English know-how. As old fashioned as "Anna and the King" may seem with its traditional narrative framework, the moment still seems to belong to another era of movie making. Otherwise, for my money, "Anna and the King" is one of the most entertaining films of the year.

Copyright 2000

The obvious Video Pix

"Anna and the King of Siam" (1946) - The sumptuous black and white 1946 production has all the trappings of a back lot studio film complete with rear projection, American actors playing members of the Siamese Court and an Englishman playing the King - Rex Harrison - the master of elocution who became the memorable Mr. 'iggins in "My Fair Lady." Irene Dunne is Anna 'Owens.'. Linda Darnell is Tuptim, and Lee J. Cobb is the Kralahome. This holds up well dramatically, but doesn't compare to the new version's authentic and colorful detail. Oscar winner for Cinematography and Art and Set Decoration. .

"The King and I" (1956) - The famous Rodgers and Hammerstein Broadway musical is transferred to the screen with Yul Bryner repeating his stage roll and winning an Oscar as the King. He made the line 'etcetera - etcetera - etcetera' synonymous with the title to this day. Deborah Kerr is Anna. Also with Lee J. Cobb and Rita Moreno. This also won Oscars for Art and Set Decoration like its predecessor. The script is by Arthur Lehman. Great Music! Great Songs! Great Movie!

Two personal favorite Jody Foster flicks from Disney

"Candleshoe" ( 1977) - Jody is a con girl hired to impersonate an heiress to a long lost fortune. A wonderfully light film with David Niven taking on a variety of impersonations as the Heiress' protector. With Helen Hayes and Leo McKern. Very similar to a 1948 film called "Miss Tatlock's Millions" that has not stood the test of time as well as "Candleshoe."

"Freaky Friday" (1977) - Barbara Harris and Jody are mother and daughter who swtich bodies for a day. Suggested by the 1948 English movive "Vice Versa" which was remade as well in 1988. This holds up pretty well with age and is far superior to Disney's own made-for-cable remake.

Two movies that made Chow Yun-Fat an international action star - both directed by John Woo

"The Killer" (1989) - Chow is a hit man. A blind girl and betrayal figure into this melodramatic magnus opus of violence and bloodletting as only Woo knows how.