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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 music and dancers seen during the formal dinner party are not Siamese, but Balinese. The music is in the style known as "gong kebyar", not yet known in the 1860's, but developed later in Bali. See more »
The banquet scene includes a performance of Siamese theatrical dance. However, the music which accompanies this performance is unmistakably Balinese gamelan, not Siamese. Furthermore, it's "gong kebyar" style, which hadn't been invented yet in the 1860s. 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 »
Very enjoyable tale of Governess teaching Siam Ruler's children, then butting heads with the deified king over issues of culture and custom.
Irene Dunne and Rex Harrison star, and they work well together, from the frosty start, to the begrudging respect into the romantic overtones that develop. Their chemistry is the key to holding the film together - and it works. The sets are marvelous, and the supporting cast (Gale Sondergaard, Lee J. Cobb -I said Lee J. Cobb!] et al) are quite good.
There's been much ado about comparing this movie with THE KING AND I. Margaret Langdon did not write a musical about her experiences there, she wrote a book. Rodgers and Hammerstein wrote the musical, based on the book. The two are certainly two different entities, and should be based on their singular merits and faults. It's about as silly as trying to link REBEL WITHOUT A CAUSE and GREASE!
Yes, Anna's character is a tad dowdy, if not prudish; yet these are values from the 1860's, not Woodstock in the 1960's. It's really not fair to judge the characters motivations by our present standards or perceptions of morality. True, it would have been better to cast an Asian actor as Mongkut, yet these were not the realities of 1940's Hollywood; and we well know this.
Overall, we watch cinema to be entertained and escape, and ANNA AND THE KING OF SIAM provide more than ample reward for the viewer, in that regard.
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