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The King and I (1956)

 -  Drama | Musical | Romance  -  29 June 1956 (USA)
7.5
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Ratings: 7.5/10 from 16,634 users  
Reviews: 72 user | 34 critic

A widow accepts a job as a live-in governess to the King of Siam's children.

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Won 5 Oscars. Another 8 wins & 8 nominations. See more awards »

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Cast

Complete credited cast:
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Martin Benson ...
Terry Saunders ...
Rex Thompson ...
Carlos Rivas ...
Patrick Adiarte ...
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Geoffrey Toone ...
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Storyline

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 <goldberg@nymc.edu>

Plot Summary | Add Synopsis

Taglines:

20th Century-Fox's crowning entertainment achievement! See more »

Genres:

Drama | Musical | Romance

Certificate:

G | See all certifications »

Parents Guide:

 »
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Details

Country:

Language:

|

Release Date:

29 June 1956 (USA)  »

Also Known As:

Rodgers and Hammerstein's The King and I  »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

(Westrex Recording System)| (70 mm re-release)| (1956 roadshow version)

Color:

Aspect Ratio:

2.55 : 1
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Did You Know?

Trivia

Marlon Brando was briefly considered for the role of the King of Siam. See more »

Goofs

In the "Shall We Dance" sequence, Anna lays her shawl on the bench before the dance and the King sits on it. When the camera is on the king again, the shawl is no longer on the bench or on the floor. See more »

Quotes

King: You are very difficult woman!
Anna: Perhaps so, Your Majesty.
See more »

Crazy Credits

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 »

Connections

Referenced in Keeping Up Appearances: The Commodore (1993) See more »

Soundtracks

Rule Britannia
(1740) (uncredited)
Music by Thomas Augustine Arne
Briefly in the score when the British visit Siam
See more »

Frequently Asked Questions

See more (Spoiler Alert!) »

User Reviews

 
A magnificent, emotionally packed unusual love story
29 October 2000 | by (Los Angeles) – See all my reviews

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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