BrianKoller's Full Review: Anna and the King of Siam
It is impossible to avoid comparing "Anna and the King of Siam" to the 1956 musical adaptation "The King and I". The latter, of course, was even more successful, with Yul Brynner ideally suited to play the king. But the 1946 version has several advantages over its more colorful successor. Comparisons with "Anna and the King" (1999) are exhaustively analyzed in the review for that film.
The absence of all the musical numbers allows for a more dense script, creating deeper characters and a more involving plot. Aiming at a more mature audience, "Anna" is more grim. Two important supporting characters that survive in the 1956 film are killed off here (one is even burned at the stake, and her final shrieking can be heard). Anna (Irene Dunne) is also more capable of tears and is less smug than her Deborah Kerr counterpart. Filmed in black and white, "Anna" can't compete with the rich colors of the musical, but that did not prevent the film from winning an Oscar for cinematographer Arthur Miller.
One problem that both films have is the casting of occidentals in oriental roles. But if not well cast, it is a very good cast. Rex Harrison, making his American film debut as the Siamese king, is both sympathetic and humorous. Irene Dunne, looking much younger than her 48 years, plays the stubborn, proper schoolteacher well. Lee J. Cobb, as the stolid minister Kralahome, is his usual competent self.
The story is based on the true story of Anna Leonowens, a widowed teacher who travels to Siam (modern-day Thailand) in 1862 to tutor the King's children. She is shocked by the King's extensive harem and his arbitrary, sometimes even barbaric ways. She is also angry at being forced to live in the palace instead of being given a house of her own. But she remains, not only as tutor to the King's many children and wives, but also as an advisor to the King himself. The King's confusion about Western ways provides much comic relief.
"Anna" was nominated for five Academy Awards, winning two, for cinematography and sets. Noted composer Bernard Herrman was nominated for his score, and the Sally Benson-Talbot Jennings screenplay was nominated. Gale Sondergaard was nominated for Best Supporting Actress. She played Lady Thiang, the sad, neglected first wife of the King. (71/100)
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