I had high hopes for "Anna and the King", which is a gorgeous remake of the 1946 film. Visually, it even exceeds expectations. The cinematography, sets and costumes are outstanding. But the film cannot keep its early momentum, and slowly deflates. By the time that the feel-good ending has been completed, "Anna and the King" is as flat as a can of beer that has been open for too long.
The story of Anna Leonowens (Jodie Foster) is by now familiar. She is an English widow with moppishly dressed pre-teenaged son Louis (Tom Felton). She arrives in Siam (modern-day Thailand) to tutor the many adorable little children of King Mongkut (Chow Yun-Fat). It is the 1860s, and Siam is threatened by British imperialism. Anna succeeds not only in teaching the youngsters, but also impresses the King. She becomes a valued advisor, and a platonic romance even develops between them. There's also a subplot starring Tuptim (Bai Ling). She is one of the King's many concubines, but she loves another.
These are the plot elements common to all four major film adaptations of Leonowens' diaries. "Anna and the King of Siam" from 1946 was the first and best version. This was followed by "The King and I" musical in 1951, the most successful version. Earlier this year, an animated adaptation of "The King and I" appeared, which was strictly for kids.
Another similar film is "The Inn of the Sixth Happiness" from 1958, which has an English missionary taming a Chinese warlord.
The 1946 film was burdened with black and white photography, and had Occidentals playing Orientals in the major roles. Nonetheless, it had a stellar cast, and a thoughtful if harsh script and story. The 1951 version had fabulous sets and costumes, but softened and weakened the story, also adding fluffy musical numbers.
At first glance, "Anna and the King" combines and outperforms the best elements of the two classic films. The cinematography, costumes and sets exceeds even the glory of "The King and I". We are also spared the sanitized Rodgers and Hammerstein songs. Westerners in outlandish makeup no longer play the major Oriental roles.
Still, there was something to be said about casting Rex Harrison and Yul Brynner as the King of Siam. It may not have been politically correct, but it was fun. As with Robert Donat in "Sixth Happiness", the King seems more of a comic character, with vanity and confusion over Western ways. There's nothing technically wrong in Chow Yun-Fat's performance. But his character is even more perfect than Foster's. He doesn't need Anna as a teacher or as an advisor. He speaks English fluently, and already knows all about the West. The cruelty of his character and position has largely vanished, and he is benevolent and graceful.
Political correctness runs deep in "Anna and the King". The English are cynical, ruthless braggarts. They are willing to butcher innocents to gain control of Siam. Anna has two Indian servants who seem wiser than she is. The King's oldest son (Kay Siu Lim) shows early moments of stubborn egotism, but soon comes around.
The harshness of Siamese customs is sometimes present, and the King's general (Randall Duk Kim) does has murderous political ambitions. But on the whole, the story of Anna and the King seems to have been reworked. Anna's personal struggles and accomplishments have become secondary. Instead, the King becomes a hero who saves his people from civil war and English tyranny.
The reduction of Anna's character is surprising since she is played by the esteemed Jodie Foster. Foster has two Oscars for Best Actress, but she demonstrates no ego in her performance. Unfortunately, she doesn't have much charisma here, either.
Playing the King of Siam is the biggest role yet for Chow Yun-Fat. He made a splash in America with his role in "The Replacement Killers", a commercial if not critical hit. Prior to that, he had great success in Hong Kong action films. As a dramatic actor, he has a brighter future in America than does Jackie Chan. He radiates star presence. But he's not convincing as the King of Siam. He seems more like a contemporary leading man hero transported in time. Just as Drew Barrymore was like a contemporary heroine out of time, in director Andy Tennant's previous, more shallow effort "Ever After".
It will take some effort to find the 1946 film "Anna and the King of Siam", but I recommend as the alternative to "Anna and the King". (52/100)
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