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Mrs. Anna Leonowens and her son Louis arrive in Bangkok, where she has 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, expressing her unhappiness at being with the King. She attempts to escape with her lover. Anna and the King fall in love, but her British upbringing inhibits her from joining his harem. She is just about to leave Siam when she hears of the King's imminent death, and returns to help his son, her favorite pupil, rule his people. Written by
Randy Goldberg <firstname.lastname@example.org>
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 »
Why are you so blind; have you no eyes to see? King tries impossible task - wishing to be scientific man who know all modern things... He will only tear himself in two, trying to be something he can never be!
Of course he can never be, if those who are closest to him are unwilling to help him!
You do not know King as well as you think you do. You believe you have great influence over him. You will end up as his slave-like all the others!
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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 »
A magnificent, emotionally packed unusual love story
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.
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