Billy Bigelow has been dead for fifteen years, and now outside the pearly gates, he long waived his right to go back to Earth for a day. But he has heard that there is a problem with his ... See full summary »
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Mrs. Anna Leonowens and her son Louis arrive in Bangkok, where she has been contracted to teach English to the children of the royal household. She threatens to leave when the house she had been promised is not available, but falls in love with the children. A new slave, a gift of a vassal king, translates "Uncle Tom's Cabin" into a Siamese ballet. After expressing her unhappiness at being with the King, the slave decides to make an attempt to escape with her lover. Anna and the King start to fall in love, but her headstrong upbringing inhibits her from joining his harem. She is just about to leave Siam but something important she finds out makes her think about changing her mind. Written by
Randy Goldberg <firstname.lastname@example.org>
Although this movie was filmed and promoted in the then-new 55 mm CinemaScope 55, it was actually shown in the standard 35 mm CinemaScope, with 4-channel stereo rather than the 6-channel stereo originally promised. CinemaScope 55 was discarded after being used on only two feature films (this and Carousel (1956)). See more »
When the children are being presented to Anna, one of them turns and walks away instead of backing away as would be expected and the King reacts with surprise. The child recognizes the mistake but then continues to back away; however, in the next shot as the next child approaches Anna the first child is seen to be in front of Anna again, this time backing away properly. See more »
Mother, look! The Prime Minister is naked.
Oh don't be ridiculous, Louis. He can't be all naked. He's only
[looks through the telescope]
... half naked.
See more »
The credits first say "Twentieth-Century Fox presents a Cinemascope Picture in Cinemascope 55", and then they go on to say "Darryl F. Zanuck presents Rodgers and Hammerstein's 'The King and I'". See more »
Wonderful, glorious colour and Brynner in his finest hour.
Brynner is so strongly identified with this role that it is difficult to remember him in anything else. He gives his all in this performance, sometimes way over the top, but it fits with this movie which is in itself over the top, offering us the Hollywood version of Siam and introducing 1955 sensibilities to the era of 1862. No matter.
The musical numbers are great and hummable, most done by Marni Nixon, who dubbed for so many in that era of endless musicals and no-voice stars.
People who protest about the insensibility and racial aspect of these musicals (Showboat and South Pacific, etc. also comes to mind)don't get it - that this is a musical, composed about an unenlightened era and is not a documentary and cannot be taken seriously.
The play within the play is truly magical, I could watch it over and over again, it is a perfect little opera.
Deborah Kerr is terrific in this and should have received an Oscar. I felt sorry for the boy who played her son - I think they appeared again together in Tea and Sympathy, but I could be wrong - there was not much to his role, he had to stand around and just be pretty and nod at his mother a lot. Very difficult.
Rita Moreno excelled as usual.
8 out of 10. Not to be missed.
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