Review by Jim Chastain II
Norman Transcript

GETTING TO KNOW YOU

Anna and the King is one of those films that makes you ask a lot of questions even before entering the theater. Questions like, "Why would anyone want to do a remake of a story which has already been made into two classic films?" (The 1946 version starring Irene Dunne and Rex Harrison won two Oscars, while the 1956 musical starring Deborah Kerr and Yul Brynner won four.) "Why would any big name star like Jodie Foster agree to take on such a risky project?" "Why would anyone as cool as Chow Yun Fat agree to play the romantic lead in a costume drama?" "Is Jodie Foster really going to attempt a British accent?" "He's not going to say et cetera, et cetera, is he?" "Didn't we just have an animated version of this same story last year?"

Well, whatever the answers to these questions are, Anna and the King did in fact get made (by 20th Century Fox), and it is now time for the viewing public to begin "getting to know" it, "getting to know all about" it. For me, the film was surprisingly engaging, especially during the first two thirds. The latter third is an undeniable let-down, but not so disappointing as to prevent me from giving the film a positive review.

Of course, considering the lead stars, how bad could this film really be? I cannot remember two better smiles standing side by side in a film. Even if this script were a complete bust, which it is not, you somehow get the feeling that the lead stars and their million dollar smiles would make it worth your while. Here, both Foster and Yun Fat are able to put us at ease as they guide their way through what was surely a difficult role for each to play.

For those of you who never watch movies older than E.T., Anna and the King is the story of an English schoolteacher who travels to Siam in the mid-nineteenth century to teach the children of King Mongkut. Based upon the actual and somewhat disputed diaries of Anna Leonowens, the film contrasts the ways of the East with the ways of the West, including the prejudices experienced by both cultures.

The film has several poignant moments involving these clashing cultures. One particularly moving scene involves the loss of a loved one, and we watch how each culture reacts to grief. Another scene deals with questions of justice and of faith, as simultaneous prayers are lifted up by Anna and the King. As a result of these moments, both characters experience personal and relational growth.

As you might expect, Anna and the King has an "epic" feel to it, and its production team has a great deal of experience in the area of costumes, cinematography, and production design. Consequently, the film is beautiful to look at, perhaps even too beautiful at times, as I found myself wondering how long the team had to search for certain shots. But that is hardly worth criticizing.

This film's primary fault is how the dramatic tension stalls out near the end. Ironically, the film begins to sputter as we approach the rather anti-climactic climax -- a coup attempt on the King and his family. As the enemy approaches on the horizon, we have plenty of time for meaningful hugs, tearful goodbyes, and the careful placement of much-needed explosives. Drama is replaced by absurdity. While this drudgery lasts only briefly, its impact is not insignificant.

Still, I liked this film. It was educational, appealing to the senses, and even moving at times. I only wish I saved my popcorn break until the end.

Rating B.

© 1999 Jim Chastain II