London based American nurse, Susan, Lady Ashwood, is at the hospital awaiting the imminent arrival of injured soldiers. She is hoping that her enlisted son, Sir John Ashwood, who resembles ... See full summary »
The adventurous Lady Edwina Esketh travels to the princely state of Ranchipur in India with her husband, Lord Albert Esketh, who is there to purchase some of the Maharajah's horses. She's ... See full summary »
Fourteen-year-old Tessa is hopelessly in love with handsome composer Lewis Dodd, a family friend. Lewis adores Tessa, but has never shown any romantic feelings toward her. When Tessa's ... See full summary »
In 1862, young English widow Anna Owens accepts the job of teaching the royal children of Siam. On her arrival in Bangkok, culture clash is immediate. The king respects Anna for standing up to him, though this appalls his courtiers. In due course, she becomes the king's confidant and diplomatic advisor; their relationship endures through many trials. Written by
Rod Crawford <email@example.com>
The sets for Anna and the King of Siam were some of the most elaborate ever built at Twentieth Century-Fox. Exquisitely detailed and painstakingly constructed, the expensive sets ended up covering several acres of the studio's backlot. According to a Time magazine article dated June 24, 1946, the film was "one of the first postwar productions to splurge on lavish, prewar-style props," which was shot "over five acres of lot covered with $300,000 worth...of Oriental rococo background. Notable eye-filling items: the King's four gold-and-diamond crowns ($84,000) and 23 silk-and-brocade costumes ($23,000);" along with "a coronation scene costing $80,000." See more »
When the King is dying the paper is not under his pillow in one scene and then magically it is there when he takes it out to be read. See more »
[Anna, thinking the king is a barbarian, is about to leave. The Kralahome has had her brought to his office at night to reason with her. She is outraged]
How dare you treat me in this manner. I demand an explanation, and I warn you...
Be quiet, sir.
...that I'm a British subject.
That is nor reason you are safe. I could have you killed if that would serve my purpose. Such things are simple here.
[Walks across room]
Sir, did you enjoy your triumph about your house? Because you shall now ...
[...] See more »
In reading the comments about "Anna and the King of Siam,"I was especially drawn to the harsh political commentaries by your reviewers.When I was saw the film in the summer of 1946,the war was over only eleven months,and I was feeling generally upbeat.Consequently,watching this film,I felt upbeat about it,too.I thought then,and I still do(seeing it on tv),that it was a beautifully produced picture.One thing I noted at the time of its release,was that movie reviewers universally criticized Twentieth Century-Fox for not filming it in Technicolor.(Fox didn't repeat their mistake in their musical production with Yul Brynner and Deborah Kerr.)Their 1946 film garnered the Oscars for black and white cinematography, and black and white art direction, and interior decoration.(Costume design nominations didn't arrive until 1948--"Hamlet,"b&w,and "Joan of Arc,"color,won).If costume design had been a factor in 1946, I'm dead sure "Anna and the King of Siam" would have been a shoo-in.The musical version in 1956 did get the prize.Irene Dunne had a spate of fine film from 1936 to 1948,and this was leader among them.I can't imagine another actor living in 1946 playing the king.(Mr.Brynner appeared on the scene in the stage production around 1950.After that,he went to Hollywood).Gale Sondergaard received an Oscar nomination for Best Supporting Actress.John Cromwell's direction was as artful as his work with "Since You Went Away."in 1944.For this film:A rating of A.
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