Anna et le roi

I saw a trailer for this film a few months before the Australian opening. Originally it was the lush cinematography that caught my eye. I assumed it would be a re-make either of the original 1946 movie or the better known Rodgers and Hammerstein musical of 1956.

In actual fact, the movie is neither a re-make of these previous FOX efforts, but rather an adaption of Anna Leonowens' own memoirs of the time she spent in Siam.

Jodie Foster gave a fascinating, beautiful performance as Anna. I found her portrayal of the character interesting, as it was far different from Deborah Kerr's interpretation. Yul Brynner left his mark on the King in both stage and film versions of "The King and I". However, Chow Yun Fat in a different role is excellent. I feel they are both up with a chance for an oscar nomination.

The film is a fine example of movie making. In addition to the supporting cast, the costumes and art decoration were of an excellent standard. Although the film was shot in Malaysia and not Thailand, I only suspected the film was not shot there because of all versions of the story being banned there. Despite the fact I have been to some of the Malaysian locations, I hardly noticed it.

Skeptical in my viewing of this movie because of my fondness for "The King and I", "Anna and the King" has forever shattered my illusions of the story. No longer can I picture the children swaying to the strains of "Getting to Know You". However, I was greatly surprised by this movie. I cannot recommend it highly enough. Rating: 10/10

This is the second film of the year (the other being "The Green Mile") that I have seen that I believe will recieve Oscar nominations in several categories, of which, best film, best male and femal actor and best cinematography will be definitely considered.

"Anna and the King" is an epic film about a British woman who accepts an offer to go to Siam (Thailand) to teach western education to the King of Siam's 58 children. Upon reaching Siam, Ms. Leonowens (Jodie Foster) is made to find her way to the King's palace by herself and subsequently made to wait weeks before she is allowed to meet him. Coming from a British background she is appalled by this treatment and decides to take matters into her own hands by bursting into the King's court, breaking every protocol on the way, and boldly confronting King Mongkut (Chow Yun-Fat) about her situation. This obviously does not sit well with the King but at the same time he is intrigued by this woman's boldness and so the story begins about cultural education (both British and Siamese) and a blossoming romance that has you yearning for a happy ending.

Foster plays Anna Leonowens very well and at times makes you hate her for her narrow minded view of the world as she portrays a woman who truely believes that "British teachings are the ways of the world." Her comments about British rule and colonization makes you cringe at times as she comes across as this arrogant, cold woman who believes that she is in Siam to bring culture and wisdom to a backwards country. Foster manages to portray every aspect of this character flawlessly and takes the audience for an emotional rollercoaster from, hate to love to compassion and every emotion in between.

The most notable difference in character development is the portrayal of King Mongkut. Chow Yun-Fat brings a quiet strength and sophistication that was never present in Yul Brynner's portrayal of the King. In this film we are shown a very intelligent man that understands more than he lets on. In fact, he seems to lead Ms. Leonowens around without her really knowing it and in some cases teaches her lessons about the world and how it really is. As the saying goes, "actions speak louder than words" and this is definitely the case for King Mongkut. Fat does not have as many lines as Foster does but he is in as many scenes and in most cases commands more of a presence.

The rest of the cast was excellent as well and there were very few slow points in the film. The colors used were very vibrant and creates a feel of exoticness. As well, the cinematography was incredible. Sweeping shots of the landscape showing the green carpets of the land and the incredible shots of the elaborate palace create an atmosphere of an epic film. Subtitles are used quite a bit but it only adds to the authenticity of the film.

The one thing that I was disappointed in was the fact this movie was based on Ms. Leonowens' diary which may be subject to biased occurances of certain situations or historical inaccuracies.

Overall though, I was thoroughly impressed and entertained with this film. Although Jodie Foster is the top billing name, this film definitely belongs to Chow Yun-Fat and it would be ashame not to see him get an oscar consideration for his performance. He is an accomplished international actor and it seems that Hollywood has finally discovered that. My recommendation, go see this film. You will not be disappointed.

A

Let the magic of romance and the beauty of Siam sweep and take you away to a world where the king rules the land and a teacher rules the king's heart. "Anna and The King" is a true masterpiece that is filled with heart & soul, a beautiful setting and superb performances.

I was very impressed with the performance of Chow-Yun Fat because he made the transition from action star to dramatic actor flawlessly. Fat showed his versatility in playing a king. Fat pulled off this role with perfection. He made it so easy for me to enjoy this movie because of his screen presence and believability of the performance as well as the chemistry between Anna and the King of Siam.

This masterpiece can not be complete without the performance Jodie Foster gave as Anna Leonowens. Foster delivered the type of performance worthy of an Oscar. She once again has established herself among the elite that have the special gift of natural talent.

Foster and Fat come together beautifully to bring the true story of the romance of Anna Leonowens and King Momokut. The chemistry can be felt from a distance and it works from the first minute they come together.

"Anna and The King" is visually stunning in so many ways with beautiful settings such as the palace. Also, the costumes are well-made and suited the movie perfectly. "Anna & The King" will take you on a journey that will touch, warm and fill your heart with spirit only a motion picture masterpiece can bring.

The story is well known and has been told many times. Topping the film adaptations competition is the 1956 musical 'The King and I', among my favourite film musicals.

'Anna and the King' is around the same level as 1946's 'Anna and the King of Siam' in terms of rating, and is much better than the limp 1999 animated version of 'The King and I', which saw the musical get the butcher's treatment, and the execrable obscure low-budget animated version from Burbank Animation Studios.

It does go on a little longer than needed, consequently some parts do drag a little, while the subplot with the rebel general is on the implausible side and doesn't give the amount of tension it had potential to do.

On the other hand, 'Anna and the King' is stunning to look at with colourful, sumptuous costumes and the exquisite art direction rightfully garnering Oscar nominations, aided by cinematography of a sweeping beauty. George Fenton's music score is rousing, understated and uplifting, and the theme song a nice fit.

Further good things are a story that has a great mix of epic, poignant drama, dignified and sometimes tense romance and intriguing, if inaccurate, history. The conflicts are somewhat complicated initially but dealt with compellingly without making the film unfocused. The script is thought-provoking, and Andy Tennant (fresh from the previous year's delightful 'Ever After: A Cinderella Story', still a personal favourite) directs assuredly.

Jodie Foster, apart from occasional tentative performance, gives a performance of great dignity and authoritative strength with an immaculate accent. Chow-Yun Fat's performance as the King is nothing short of superb, a portrayal of many nuances and sweet-natured subtlety. All the cast do well, including a pre-'Harry Potter' Tom Felton.

On the whole, a very strong film with a few faults. 8/10 Bethany Cox

Lush, epic, sweeping, entrancing. It's all here. If there's any "justice" in Hollywood, this one should be Oscar bait for at least cinematography, costuming, musical score and the magnum-magnificent presence of some dude I never heard of before I saw AATK -- Chow Yun Fat. Now, I have been informed that he is the Coolest Actor in the World (according to L.A. Times). I can see this dark, cool elegance in his breathtaking performance as a real and fascinating historic figure, King Mongkut, who in actuality learned Latin, astronomy and memorized major parts of both Bible and Koran while a Buddhist monk. Contrary to the buffoonery of Yul Brynner's overblown portrayal, Chow opens for us an entirely new cultural door, brushing for the eager audience a portrait of a monarch of absolutely power who wields it so well that he is unafraid of gentleness, hugging his enchanting, on-screen children without reserve and finding himself mystifyingly in love with a foreign woman he cannot tame or bed because of the constraint of the times. The betrayal, revolution and barbarity of l9th century Thailand (Siam) become pale watercolor in comparison to the bold red and orange of unresolved love and religious and cultural interplay represented by Foster and Chow. We fear that more of these mesmerizing moments between the two lie on the editing room floor. However, Chow's sensitive face and body language reflect this inner evolution and bittersweet turmoil far better than does Jodie Foster's rather wooden performance accompanied by a troubling British accent. I respect Foster's talent immensely, though it shone through only intermittently, blossoming only when she softens to the King's patient (sometimes stormy) friendship. The indelible etching of the film comes during a non-speaking sequence involving the disposition of Tuptim and Balat which sub-plot likely was originally meant to be a subtle reflection of the untenable love affair between Anna and Mongkut. This is so well-edited and scored that it's going to be hard to forget. When the King kneels in agonized prayer before his talismanic Emerald Buddha, one is compelled to conclude that he is in anguish -- not only over what's happening to his concubine and his throne -- but the fact that his actions necessitated by politics will also probably forever separate him from his tea-tray-tossing Anna and all she believes in and has worked for in his country. Okay, so I cried in several places (something I nearly never do) -- the mark of a film which has accomplished its goal, i.e., the moving of hearts. I was fascinated with this movie. It made me read and research a part of the world I've generally ignored, and whole new palace gates have opened. Sumptuous and rich it is; and award-winning it should be, but the sun-star opulence of this new guy, Chow, is the stellar pin on that film curtain. Thanks, Mr. Tennant. And thank you, Mr. Chow.