The King and I

Getting to know The King and I is a wonderful experience. Yul Brynner is unforgettable as the king of Siam, and Deborah Kerr is able to stand toe-to-toe (or head-to-head) with his every move. With its lavish sets, elaborate costumes, and amusing songs, this musical has an undeniable charm, even if it may feel foreign or dated to some.

In the 1860's Mrs Anna Owens was appointed by the King of Siam as the teacher of his children. He wanted to give them (and himself) a "modern" education, to impress visiting dignitaries with how up-to-date he was, so that they would accept him as a world leader, like them. He thought it would be a simple communication of knowledge and understanding, like someone learning a new set of jargon.

This naive and misguided motive, seeking to impress without really wanting modernity, produced a clash of cultures. Fortunately for all of us (and especially for the film industry) Anna kept a scrupulous and detailed diary of the whole affair. It was made into a film starring Rex Harrison, which was rather more historically accurate than this musical version, and was a very appealing film in many ways.

This film, however, has become legendary. Although it is based on the principle "Never let historical facts get in the way of a great musical", that doesn't matter at all, because it is a truly great and deeply moving romantic musical film. For example, has there ever been a more loving love-song than "Something Wonderful", which the king's number one wife sings in explanation of her devotion to him? I seriously doubt it! It's one of the best-written songs of all time, and could only have been written by someone who truly understood love!

The simple charm and joyful exuberance of "Getting to Know You", the unforgettable "Hello Young Lovers" which is a message of hope and encouragement to all those who love under difficult circumstances, "Whistle a Happy Tune" which helps when we are frightened and alone, and all the other songs have become famous.

Yul Brynner, who had been a relatively unknown bit-part actor with hair, shaved his head and gave a towering performance for the part, then spent the rest of his life basking in the glory of that one role! Deborah Kerr, who had given so many exquisite performances in so many films, also rose to the occasion in this one. Rita Moreno, who was a pin-up girl as well as one of the world's greatest actresses, is beautiful as the runaway slave.

It's a film that everyone must see at least once, especially now that they've put out a restored version. I've given it 10 out of ten.

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

Deborah Kerr and Yul Brynner give spirited performances in 'The King and I', a musical adaptation of Margaret Landon's book. Brynner in particular brings an athleticism and intensity to his role which won him an academy award. The two share an unusual chemistry. The film is dated but remains entertaining and ranks among the best musicals of the fifties. The music is very enjoyable with several catchy tunes which are well choreographed. I specially liked "A Puzzlement" and "Shall We Dance". Some parts are a bit corny but the film is still well worth watching.

Overall 8/10

The King and I has been my favorite Rodgers&Hammerstein show for many years. I love the score and the only real criticism I have of this film version is that it did not contain the entire score from the Broadway show. It also did not contain the magical performance of Gertrude Lawrence in her final role. But that was beyond the scope of 20th Century Fox and Darryl Zanuck.

The versions of The King and I that we usually see performed give emphasis to the role of the King. As Gertrude Lawrence was dying in 1952 she made a deathbed request that the billing on the show be changed and that Yul Brynner be given top billing instead of whatever female would be replacing Lawrence as Anna Leonowens. That was done and it has remained so ever since.

The role of King Mongkut of Siam became like Dracula was for Bela Lugosi, a part that no matter what else he did, Yul Brynner couldn't escape from. The air of authority he establishes as the King holds you and binds you to every move he makes in the part. I'm told that as good as this screen version is, to see him on stage was the real deal. The critical acclaim he got from the Broadway run no doubt led to him winning an Oscar as Best Actor for 1956.

Standing in for Gertrude Lawrence quite ably is Deborah Kerr who got one of her several nominations for Best Actress for this film. Unfortunately her voice is dubbed by that well known vocal stand-in Marni Nixon as is Rita Moreno as Tuptim and Carlos Rivas as Lun Tha the second romantic leads. The part does call more for an actress than a singer. Gertrude Lawrence was the very best of both.

So many popular standards come from this score, more than any other score Richard Rodgers and Oscar Hammerstein, II wrote. From philosophical tunes like Getting to Know You and I Whistle a Happy Tune and such romantic ballads as Hello Young Lovers, We Kiss in a Shadow, Something Wonderful and Shall We Dance will be done forever. Somewhere now on planet earth there is some theatrical company doing the King and I and performing these great songs. You can't also forget those that didn't make the cut here like I Have Dreamed and My Lord and Master.

The most interesting song that Dick and Oscar wrote is the solo for the King, A Puzzlement. It's very similar to the Soliliquy in Carousel where the song explains all the character motivations of Billy Bigelow. King Mongkut, a very real historic figure who wanted very much to move his country into the modern era, but his entire upbringing fights against his desire. A Puzzlement is a wonderful number that goes into the problems of governing and not just for monarchies. Listen to Hammerstein's lyrics, they are very much relevant today.

I visited Thailand in 1999 and learned a great deal about the country in those two days. King Mongkut's descendants rule today as constitutional and beloved monarchs. In fact this film which probably did more to encourage tourism to Thailand than anything else is banned in that country. Because it shows the king in what the Thais feel as an irreverent light. It is indeed a puzzlement.

The film has preserved forever one of the great Broadway shows of all time forevermore. Reason enough to see it and whistle its happy tunes.