Anna and the King of Siam

This is the first film version of the popular semi-fictional 1940s novel. It might be a bit more fondly remembered if it hadn't been eclipsed by The King and I, the classic musical version made 12 years later. As it stands, Anna and the King of Siam is an entertaining piece of character-play about cultural difference and notions of civilisation. It's by no means a masterpiece, but it's still an interesting film nonetheless and fans of golden age Hollywood will find it appealing.

Partially based on real events, the film follows Anna (Irene Dunne), a teacher and a widow who travels to Siam in the 19th century after being hired as a governess to the children of King Mongkut (Rex Harrison). Upon arrival she finds that the King is too busy to see her, and doesn't remember promising a house for her to live in. Anna is a somewhat stubborn woman of principle though, and rather than leave she decides to stick it out until the King learns a valuable lesson in following through on his promises. This struggle is just the tip of the iceberg though, and the two lock horns again and again, with Anna becoming teacher to the King as well as his children.

I wasn't really sure how to take this film at first - I mean, is it about cultural differences or enducating savages? The film seems to start out as a piece on cultural misunderstanding, but the presence of Rex Harrison in yellowface and Irene Dunne's indominitable spirit seems to imply a lesson in successful colonialism at the expense of South-East Asian culture. I think it's pretty safe to say that there wont ever be a resurgence of interest in this film due to the yellowface and shades of imperialism, though the film isn't actually as backwards as you might think. Anna and the King of Siam looks at the ways that less 'advanced' countries must adapt and modernise to survive the onslaught of european colonialism. The film examines a time when Siam was threatened by expanding European interest, and lays it sympathies firmly within the King's court. However, there's still something patronising about the concept of Anna coming to teach children but ending up with the King as a student as well - especially when as Rex Harrison with an affected Thai accent and his eyes taped up to look Asian.

Dunne plays Anna as a headstrong woman out of her depth in a strange foreign land. She clings to her morals for lack of any other anchor, but also knows when to embrace a helping hand. Much of the film plays out the clash of wills between the petulant childlike King and this educated, independent woman. It ups the ante with the fact that "women do not exist here". The role of women in this society is something approaching a slave-caste, and Anna clashes with the King's favourite wife as a result - though Dunne does a good job of not overdoing it too much, perhaps mindful that the audience's sympathy is a somewhat grey area in a film like this. Lee J. Cobb however (a tall and burly character actor better known for playing bullies) is a ridiculous choice as the Siamese Prime Minister - he does his best but he's grossly miscast. Rex Harrison, despite the politically incorrect nature of his performance, is highly entertaining as the king. He's characterised as two men, a traditional king of Siam as well as a new world man of learning who seeks to modernise his country in order to save it. It's almost safe to say that the only reason to watch this film is due to Harrison's presence.

HIGHLIGHTS: The King's interaction with European emissaries at a dinner party is hilarious ("she is very ugly").

LOWPOINTS: Unfortunately, this film contains one of the most drawn out, overly dramatic death scenes ever.