The King and I

This is just a beautiful film,much better than the animated version. It has the most gorgeous score by Rodgers and Hammerstein, although it is not as good as the Sound of Music. The film itself is beautiful, and I felt enchanted watching it. The main attraction is the scenery and cinematography, they were just amazing. Yul Brynner undoubtedly gives the performance of his career, he is magnificent here. Deborah Kerr, who sadly died recently, matches him beautifully in a touching performance of Anna Leonowens. The intermission was a delight to listen to, and for me the highlight of the movie is the scene, the play. Speaking of the ending, it is so sad, and I hated the fact that the animated version completely changed the story. Give this a try, you'll be enchanted. 9/10-it is a bit long. Bethany Cox

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.

A widowed teacher and son travel to Siam, where she takes a job as governess to The King's children, after a troubled start, the pair develop an unexpected friendship.

It's not for everyone, and it's a film that would probably never be made in this day an age, but it was a huge success when it launched, and it's still loved and well regarded today. It's a lavish musical, with a pretty terrific cast, it's both engaging and amusing.

Don't come here for a history lesson or an accurate portrayal of the culture, come here for two hours of escape. It's hard not to get lost in The King and I. The cultural clashes are something to behold, The King's brashness contrasted with the sheer English desire for properness, quite lovely.

The costumes and sets are divine, in terms of production values, this 1950's classic is off the scale, it truly does look sublime, it's a huge production, I'm not sure there's anything as attractive as Yul Brynner here though, his appearance is other worldly, his presence, his posture, harsh but incredible. Personally I think Brynner provides a masterclass here, he's phenomenal, when you watch this film, it's him you're watching.

Deborah Kerr, a fine actress, she fitted the bill perfectly, her character is so prim and proper, the definitively English Governess, but she has a twinkle in her eye, a strong reserve, but a sense of humour and confidence. She could have easily made off with a grand piano under that crinoline.

The music is wonderfully memorable, it's memorable, it's prominent throughout, you'll not be able to watch, and not sing a couple of phrases.

Favourite scene, Shall we dance, it's the highlight of the film for me, magical.

It's simply not Christmas without The King and I.

8/10.

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.

Having read most of the comments on this picture, I was astonished to see how little understood this classic musical is. Yes, it takes place in 19th century Siam, but it is a fairy tale Siam in the same sense as the fairy tale Paris in An American in Paris. It is not supposed to be a true representation of Asian life. Wake up, Folks! Its a Hollywood adaptation of a Broadway musical! Let's leave the realism to Phat and Foster.

This picture, with its infectious score and dynamic performances, is one of the best of its genre. Who can fail to see the sexual tension between the two leads? Who can not marvel at the entrance of the royal children (check out Brynner's different reaction to each child). How can one not applaud the fantastic House of Uncle Thomas performance at the diplomatic dinner. How can your heart not reel to Shall We Dance?

This is old-line Hollywood at its very best, and may be the last truly great musical. Check your historical, racial, and PC hats at the door and don't miss it!