Il re ed io

In the 1860's Mrs Anna Owens was appointed by the King of Siam as the teacher of his children. He wanted to give them (and himself) a "modern" education, to impress visiting dignitaries with how up-to-date he was, so that they would accept him as a world leader, like them. He thought it would be a simple communication of knowledge and understanding, like someone learning a new set of jargon.

This naive and misguided motive, seeking to impress without really wanting modernity, produced a clash of cultures. Fortunately for all of us (and especially for the film industry) Anna kept a scrupulous and detailed diary of the whole affair. It was made into a film starring Rex Harrison, which was rather more historically accurate than this musical version, and was a very appealing film in many ways.

This film, however, has become legendary. Although it is based on the principle "Never let historical facts get in the way of a great musical", that doesn't matter at all, because it is a truly great and deeply moving romantic musical film. For example, has there ever been a more loving love-song than "Something Wonderful", which the king's number one wife sings in explanation of her devotion to him? I seriously doubt it! It's one of the best-written songs of all time, and could only have been written by someone who truly understood love!

The simple charm and joyful exuberance of "Getting to Know You", the unforgettable "Hello Young Lovers" which is a message of hope and encouragement to all those who love under difficult circumstances, "Whistle a Happy Tune" which helps when we are frightened and alone, and all the other songs have become famous.

Yul Brynner, who had been a relatively unknown bit-part actor with hair, shaved his head and gave a towering performance for the part, then spent the rest of his life basking in the glory of that one role! Deborah Kerr, who had given so many exquisite performances in so many films, also rose to the occasion in this one. Rita Moreno, who was a pin-up girl as well as one of the world's greatest actresses, is beautiful as the runaway slave.

It's a film that everyone must see at least once, especially now that they've put out a restored version. I've given it 10 out of ten.

I originally saw THE KING AND I at the Roxy Theatre in New York when I was ten years old. My grandmother took me after a day trip to the Statue of Liberty, and I was expecting to see one of my favorites, Jan Clayton, the star of LASSIE, in the starring role.

When the movie unfolded I was enraptured by the beautiful redhead playing the lead and realized it wasn't Miss Clayton (whom I later learned had played in the road version of the show, and kids that age don't really know the difference). I went out into the theatre lobby and looked at the ornate program, which listed Mrs. Anna as Deborah Kerr.

What an impression this woman has had on my life over the years from the retelling of the classic tale of the British woman who comes to Siam to teach the king's children. It is superb, not only musically, but from a story standpoint holds up as the best of the Rodgers & Hammerstein musicals. It is essentially a women's lib story, which makes it as relevant today as it was fifty years ago when it premiered on Broadway.

The fiery, but compassionate Mrs. Anna who is at first turned off by the king and then charmed by him, and who little by little changes him from a near-despot to a man who can grow.

The subplots are fanciful, but lovely and, in the ballet of Uncle Tom, as performed by Tuptim draw a direct analogy to the unpleasant lives endured by Siamese slaves, in particular women. It does so with majesty and intelligence, no less so than Arthur Miller did in "The Crucible," contrasting the Salem Witch Trials with the awful McCarthy political witchhunts on Capitol Hill.

It is an extraordinary achievement, and it is shocking that it did not even make the top 100 AFI films a year ago. It is continually fresh and alive, and every time there is a festival or re-release it does well. Indeed, a few years ago it was shown on a huge screen at The Hollywood Bowl, with orchestral accompaniment, and it was a smash again.

My only regret is that Deborah Kerr (six times nominated for an Oscar) was not gifted with an Academy Award along with her co-star Yul Brynner.

It is a film that should be seen for generations to come.

A widowed teacher and son travel to Siam, where she takes a job as governess to The King's children, after a troubled start, the pair develop an unexpected friendship.

It's not for everyone, and it's a film that would probably never be made in this day an age, but it was a huge success when it launched, and it's still loved and well regarded today. It's a lavish musical, with a pretty terrific cast, it's both engaging and amusing.

Don't come here for a history lesson or an accurate portrayal of the culture, come here for two hours of escape. It's hard not to get lost in The King and I. The cultural clashes are something to behold, The King's brashness contrasted with the sheer English desire for properness, quite lovely.

The costumes and sets are divine, in terms of production values, this 1950's classic is off the scale, it truly does look sublime, it's a huge production, I'm not sure there's anything as attractive as Yul Brynner here though, his appearance is other worldly, his presence, his posture, harsh but incredible. Personally I think Brynner provides a masterclass here, he's phenomenal, when you watch this film, it's him you're watching.

Deborah Kerr, a fine actress, she fitted the bill perfectly, her character is so prim and proper, the definitively English Governess, but she has a twinkle in her eye, a strong reserve, but a sense of humour and confidence. She could have easily made off with a grand piano under that crinoline.

The music is wonderfully memorable, it's memorable, it's prominent throughout, you'll not be able to watch, and not sing a couple of phrases.

Favourite scene, Shall we dance, it's the highlight of the film for me, magical.

It's simply not Christmas without The King and I.

8/10.

The King and I has been my favorite Rodgers&Hammerstein show for many years. I love the score and the only real criticism I have of this film version is that it did not contain the entire score from the Broadway show. It also did not contain the magical performance of Gertrude Lawrence in her final role. But that was beyond the scope of 20th Century Fox and Darryl Zanuck.

The versions of The King and I that we usually see performed give emphasis to the role of the King. As Gertrude Lawrence was dying in 1952 she made a deathbed request that the billing on the show be changed and that Yul Brynner be given top billing instead of whatever female would be replacing Lawrence as Anna Leonowens. That was done and it has remained so ever since.

The role of King Mongkut of Siam became like Dracula was for Bela Lugosi, a part that no matter what else he did, Yul Brynner couldn't escape from. The air of authority he establishes as the King holds you and binds you to every move he makes in the part. I'm told that as good as this screen version is, to see him on stage was the real deal. The critical acclaim he got from the Broadway run no doubt led to him winning an Oscar as Best Actor for 1956.

Standing in for Gertrude Lawrence quite ably is Deborah Kerr who got one of her several nominations for Best Actress for this film. Unfortunately her voice is dubbed by that well known vocal stand-in Marni Nixon as is Rita Moreno as Tuptim and Carlos Rivas as Lun Tha the second romantic leads. The part does call more for an actress than a singer. Gertrude Lawrence was the very best of both.

So many popular standards come from this score, more than any other score Richard Rodgers and Oscar Hammerstein, II wrote. From philosophical tunes like Getting to Know You and I Whistle a Happy Tune and such romantic ballads as Hello Young Lovers, We Kiss in a Shadow, Something Wonderful and Shall We Dance will be done forever. Somewhere now on planet earth there is some theatrical company doing the King and I and performing these great songs. You can't also forget those that didn't make the cut here like I Have Dreamed and My Lord and Master.

The most interesting song that Dick and Oscar wrote is the solo for the King, A Puzzlement. It's very similar to the Soliliquy in Carousel where the song explains all the character motivations of Billy Bigelow. King Mongkut, a very real historic figure who wanted very much to move his country into the modern era, but his entire upbringing fights against his desire. A Puzzlement is a wonderful number that goes into the problems of governing and not just for monarchies. Listen to Hammerstein's lyrics, they are very much relevant today.

I visited Thailand in 1999 and learned a great deal about the country in those two days. King Mongkut's descendants rule today as constitutional and beloved monarchs. In fact this film which probably did more to encourage tourism to Thailand than anything else is banned in that country. Because it shows the king in what the Thais feel as an irreverent light. It is indeed a puzzlement.

The film has preserved forever one of the great Broadway shows of all time forevermore. Reason enough to see it and whistle its happy tunes.

Deborah Kerr and Yul Brynner give spirited performances in 'The King and I', a musical adaptation of Margaret Landon's book. Brynner in particular brings an athleticism and intensity to his role which won him an academy award. The two share an unusual chemistry. The film is dated but remains entertaining and ranks among the best musicals of the fifties. The music is very enjoyable with several catchy tunes which are well choreographed. I specially liked "A Puzzlement" and "Shall We Dance". Some parts are a bit corny but the film is still well worth watching.

Overall 8/10