The King & I (A- or 3.5/4 stars)
'The King & I', a classic Rodgers & Hammerstein musical directed by Walter Lang, and adapted from a hit Broadway play starring Gertrude Lawrence, is based on the true story of Anna Leonowens (the regal Deborah Kerr), an English widow who comes to Siam in the 1860s with her young son to take a job as teacher/tutor to the plethora of children sired by the all-powerful King of Siam (Yul Brynner, recreating his Broadway role). The children of the enormous palace are sweet & delightful. But at first, though the King seems progressively-minded, he also proves to be reluctant, fearsome, and sexist, giving the kind Anna quite the hard time. But the King is quickly surprised by her unwillingness to bend to his eccentricities & rigid rules. She is as strong/stubborn as he.
Despite the culture clash btwn. them, their relationship evolves over time, and they come to respect ... perhaps love each other. Through Anna, the King learns the refineries of Western civilization. Anna, meanwhile, comes to see how important it is for this Asian ruler to maintain his pride & uphold the entrenched customs/ways of his people. One evening, the King, who'd like make his reign modern & scientific, receives info that certain European ambassadors believe him to be a barbarian. To prove them wrong, he hosts a successful evening entertaining the doubtful foreign dignitaries, and Anna & the King celebrate with an exceedingly charming & energetic dance - there's even a chaste, yet powerfully erotic nature to it. But the dance is abruptly cut short by a game-changing quarrel btwn. the 2 of them over the cruel punishment of the King's new Burmese wife, Tuptim (Rita Moreno), who has fallen for another man. Drama ensues.
'The King & I' is a glorious movie musical. In execution, it tends to be somewhat stagey; with the exception of the "Small House of Uncle Thomas" ballet. That said, there are plenty of outdoor shots. And the enormous soundstage that comprises the palace is detailed, ornate, & expansive enough that you still get cinematic sweep. The color photography, camera movement, & lighting is also beautiful. And Irene Sharaff created some unbelievable costumes for all (the King, Anna, the children, the ballet, the ambassadors, the lowly workers, etc.). And I can't talk about this movie without mentioning the songs. Rodgers & Hammerstein, man. They rule. "Getting to Know You", "Whistle a Happy Tune", "A Puzzlement" (which almost didn't make the cut), & "Shall We Dance" really leave an impression.
As the Victorian Englishwoman who comes to Siam to teach Western manners to the royals, Deborah Kerr handles the role of Anna Leonowens with charm, wit, & a sense of light comedy. But she also depicts a remarkably strong woman for the 1860s; which makes for some fun verbal sparring btw. herself & the King. Speaking of the King ... Yul Brynner is exceptional. Brynner must encapsulate everything: exotic, mysterious, petulant, enigmatically kind, loving, brutal, & confused by the conflicts of Eastern & Western cultures. Stomping around in his bare feet with his adorned outfits & bald head, the movie comes alive anytime he's onscreen.
I also must comment on his chemistry with Kerr. There is a mutual delicacy btwn. the 2. And yet, my goodness ... there are a few fleeting moments during their "Shall We Dance" scene where a fluttering, slow-burn desire is palpable - just with a few searing looks, some trembles, his hand on her hip, & the grasping of hands -- great stuff. You know, much of what occurs near the end of the film is bittersweet. I was taken aback. And it took me a day to come to terms with what occurs. But overall, I found this to be a wondrous, opulent, fascinating movie musical with iconic performances & plenty of music to enjoy.
Despite the culture clash btwn. them, their relationship evolves over time, and they come to respect ... perhaps love each other. Through Anna, the King learns the refineries of Western civilization. Anna, meanwhile, comes to see how important it is for this Asian ruler to maintain his pride & uphold the entrenched customs/ways of his people. One evening, the King, who'd like make his reign modern & scientific, receives info that certain European ambassadors believe him to be a barbarian. To prove them wrong, he hosts a successful evening entertaining the doubtful foreign dignitaries, and Anna & the King celebrate with an exceedingly charming & energetic dance - there's even a chaste, yet powerfully erotic nature to it. But the dance is abruptly cut short by a game-changing quarrel btwn. the 2 of them over the cruel punishment of the King's new Burmese wife, Tuptim (Rita Moreno), who has fallen for another man. Drama ensues.
'The King & I' is a glorious movie musical. In execution, it tends to be somewhat stagey; with the exception of the "Small House of Uncle Thomas" ballet. That said, there are plenty of outdoor shots. And the enormous soundstage that comprises the palace is detailed, ornate, & expansive enough that you still get cinematic sweep. The color photography, camera movement, & lighting is also beautiful. And Irene Sharaff created some unbelievable costumes for all (the King, Anna, the children, the ballet, the ambassadors, the lowly workers, etc.). And I can't talk about this movie without mentioning the songs. Rodgers & Hammerstein, man. They rule. "Getting to Know You", "Whistle a Happy Tune", "A Puzzlement" (which almost didn't make the cut), & "Shall We Dance" really leave an impression.
As the Victorian Englishwoman who comes to Siam to teach Western manners to the royals, Deborah Kerr handles the role of Anna Leonowens with charm, wit, & a sense of light comedy. But she also depicts a remarkably strong woman for the 1860s; which makes for some fun verbal sparring btw. herself & the King. Speaking of the King ... Yul Brynner is exceptional. Brynner must encapsulate everything: exotic, mysterious, petulant, enigmatically kind, loving, brutal, & confused by the conflicts of Eastern & Western cultures. Stomping around in his bare feet with his adorned outfits & bald head, the movie comes alive anytime he's onscreen.
I also must comment on his chemistry with Kerr. There is a mutual delicacy btwn. the 2. And yet, my goodness ... there are a few fleeting moments during their "Shall We Dance" scene where a fluttering, slow-burn desire is palpable - just with a few searing looks, some trembles, his hand on her hip, & the grasping of hands -- great stuff. You know, much of what occurs near the end of the film is bittersweet. I was taken aback. And it took me a day to come to terms with what occurs. But overall, I found this to be a wondrous, opulent, fascinating movie musical with iconic performances & plenty of music to enjoy.