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I will immediately confess that until I read the DVD's back
cover and listened to the disc's commentary, I was completely
unaware that this film and other versions of this well-known
story found in both in print and on the screen are based on
the diaries of Anna Leonowens. Her claimed exploits have generated
no small controversy; most criticism centers on assertions
of being self-serving and exaggerating her contributions to
the enlightenment of Siam royalty. Nonetheless, the factual
basis makes her adventures all the more compelling as the
fascinating foundation for the beautifully produced film,
Anna and the King
Anna Leonowens (Jodie Foster), recently widowed, travels
with her young son Louis (Tom Felton) to the alien culture
of Siam. She has accepted a position of tutor to King Mongkut's
(Chow Yun-Fat) son, Prince Chowfa (Lim Kay Siu). Her arrival
is less than satisfying. Isolated and idle, it takes three
weeks before she is able to confront Mongkut concerning her
housing and duties. He is surprisingly tolerant of her blatant
behavior, almost amused. Had any of his subjects shown what
is considered to be so disrespectful, they would have been
severely punished. Instead, he expands her purview to include
all 58 of his children and several of his many wives and concubines.
The house outside palace grounds she was promised would have
to wait
Anna would seem to consider herself an equal, and her attitude
is indulged; she is called "sir" since no woman
may stand in the presence of the king. Inevitably, her strong
will and courage create an unavoidable attraction. And as
we watch their relationship develop, Siam is beset with domestic
and international troubles that threaten the fabric of the
country and the lives of the royal family
Villages are brutally attacked by the Burmese. Internal forces
vie for power and threaten the lives of the king and his descendants.
Colonial powers compete for domination. And Anna inadvertently
finds herself a conduit of messages between an unhappy concubine
and her former lover, with tragic consequences. Anna is drawn
into each of these conflicts and she's perplexed and ultimately
distraught by Siamese justice. Her heartfelt lectures to the
king concerning "civilized" behavior will ultimately
have an effect, one that will transform Siamese culture. But
not before she is exposed to traditions she can only describe
as barbaric. Despite the turmoil, the conflict that most interests
us is their growing relationship and how each copes with inappropriate
feelings. I could not help but be drawn into the melodrama
Viewers are advised to avoid any comparisons with Rodgers
and Hammerstein's "The King and I" or the 1946 film
"Anna and the King of Siam," with Irene Dunne and
Rex Harrison. This version is a sweeping epic, supported by
remarkable sets, elaborate costumes, scores of extras, and
a distinctively serious approach
Jodie Foster - a fine actress with great range - has the
thankless task of portraying a repressed, imperious prig,
a product of the Victorian British Empire on which the sun
never sets. Once one gets used to her uncomfortable English
accent, it still takes time to warm to her character. But
as Anna develops an emotional connection with her charges,
we find ourselves drawn to her. Ultimately, her relationship
with the king assumes a believable charm
Chow Yun-Fat's King Mongkut is portrayed as a complex, fully
formed, sympathetic despot. No caricature here. He rarely
imposes his will with fear-inducing anger; his is the assured
power of unquestioned obedience. His power over the life and
death of each of his subjects is understood and respected.
Paramount are Mongkut's affection for his people and his country.
Video: How Does The Disc Look?
The film's 2.35:1 theatrical aspect ratio is presented in
anamorphic video. Some visible edge enhancement is apparent,
yet the images have a very subtle softness. The colors are
magnificent. The native costumes, which are frequently in
primary red, the lush green tropical foliage, and the golden
enhancements to the architecture of the royal palace are glorious.
Brightness and contrast are faultless, from the blindingly
bright equatorial sun to the night-for-day scenes with their
shadowy detail. Director Tennant and director of photography
Caleb Deschanel have created one of the loveliest looking
films I've seen since The Emperor and the Assassin.
Universal's Digital Video Compression Center did justice to
the visuals as they mastered this DVD; I found no intrusive
artifacts.
Audio: How Does the Disc Sound?
The Dolby Digital 5.1 audio track is first rate. George Fenton's
delightful score has great presence, and is presented across
a broad soundstage. Thunder and explosions reach deep into
the lowest octave, requiring a good subwoofer to do the effects
justice. Environmental sounds envelop the listener and there
are good directional queues. Dialog remains crystal clear
throughout
An English track also is available in Dolby Surround, as
is French. Interestingly, Jodie Foster, who is just as comfortable
in French as she is in English, looped her own French dialog.
These spoken languages are supported by English and Spanish
subtitles.
Supplements: What Goodies Are There? After a questionable start in the DVD market, Fox just seems
to be getting better and better. There are seven deleted
or extended scenes, five of which are presented in anamorphic
video, and all of which may be heard with and without director
Andy Tennant's commentary. While I cannot fault their finding
their way to the cutting room floor, it was a pleasure to
gain the additional insights these scenes provided, especially
the alternate beginning and ending prologue.
On the Behind the Scenes Menu you will find six featurettes
entitled TV Special, Advanced Combo, Production Design, Featurette,
Costumes, and Elephants. This would certainly seem quite generous;
but unfortunately, these shorts are quite repetitious. The
shorter featurettes provide the content for the longer ones.
Watch the TV Special and you will have covered over 95% of
the material contained in the other five combined.
Once again, I've saved the best for last. I found the screen-specific
audio commentary with director Andy Tennant to be very
entertaining. Tennant seems very comfortable as he shares
many anecdotes and insights. He has a dry, drool sense of
humor that really appeals to me as he describes interesting
behind the scenes details. The commentary is a wonderful amalgam
of entertainment and information. Very well done.
All the supplements, including the theatrical trailer
is presented in non-anamorphic video, a mix of full screen
and letterbox, and in Dolby Surround. And there is a music
video by Joy Enriquez singing "How Can I Not Love
You" - a song heard over the closing titles - that seems
totally out of place within the esthetics of the film. Strange
choice.
Parting Thoughts
Anna and the King was not treated kindly by either
the critics or the public. This $75 million film earned back
less than $44 million at the box office worldwide. Yes, the
plot is flawed by a few highly unlikely events. And despite
my admiration for Jodie Foster, I never quite bought the accent.
But in the end, I found the film charming. A sweeping epic
that takes the time to highlight the growing relationship
between these two very different people.
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