ANNA AND THE KING *** (out of five stars) A review by Jamey Hughton
Starring-Jodie Foster, Chow Yun-Fat and Bai Ling Director-Andy Tennant Rated PG 20th Century Fox
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`Anna and the King', the latest adaptation of Rodgers and Hammerstein's renowned musical `The King and I', is a sumptuous and attractive epic that manages to mask a great number of it's problems with a steady dosage of beautiful imagery. There is impeccable detail applied to the costuming and set designs, enough to captivate the audience over droughts where both the pace and dramatic interest lags a bit behind. You may be squirming in your seat periodically during this 2 hour, 30 minute epic - but luckily, two engaging stars are present to make the experience a comfortable one.
One is Jodie Foster, who plays strong-minded British schoolteacher Anna Leonowens, a woman who makes a long and perilous journey to Siam so that she can tutor an influential young boy. The lad is the son of King Mongkut of Siam (Chow Yun-Fat), who rules his people with strict standards and cultural balance. Anna conducts herself with strong will and incredible courage for a woman in her era, confronting the King and demanding sufficient quarters even when she's not permitted. She is bold, to be sure, but she is also wise in more areas than the King can imagine. Anna winds up the enter royal family (which is... large), and lecturing them in the ways of the West with their father's approval. I had no doubt Foster could handle the role of the brisk and strong-minded Anna, and she does, with believable authority and appealing wisdom. I was happy, though, to see Hong Kong action superstar Chow Yun-Fat snag the role of the King. Despite the fact his two American thrillers (`The Replacement Killers' and `The Corruptor') have flopped, I was optimistic about Chow's ability to handle a major dramatic role like this. He, like his enthusiastic counterpart, pulls through with an admirable effort.
`Anna and the King' features a screenplay that tends to be clumsy and meandering, but mainly the film is reasonably well written. There is light humor sprinkled about and channeled successfully through awkward meetings between King Mongkut and Anna, and plenty of amusing material surrounding the plot device of the King having 26 wives. How could you not crack a few good jokes with that little bit of information? For a steady 90 minutes, `Anna and the King' resembles just the sort of epic story that Hollywood is famous for. The performances click, the visual content is spellbinding, and director Andy Tennant (`Ever After') manages to successfully engage the viewer with continuous beauty.
And then, there's a little slip-up. Tennant stretches the film to an unnecessary 140 minutes, testing the average viewer's patience with scenes that ring with monotony and loss of dramatic impact. If the running length were cut short by a half-an-hour or so, then perhaps the initially absorbing material and lavish set designs would be better appreciated while the audience exits the theater. In it's present state, with the film ending on a sour and empty note, some of the good qualities are bound to be forgotten. But despite it's length, `Anna and the King' manages to radiate enough working star power and attractive imagery to suffice as an entertaining epic, even if it falls short of some potential.
It's also too violent in certain areas - never extremely graphic, but too often unsettling (especially for younger viewers). But, if there is one thing you can't pass over with giving due notice, it's the sheer beauty of the entire production. Expect an Oscar-nomination or two in the categories of costuming and cinematography, but little more. Both Foster and Yun-Fat grace the screen with their style and pizzazz, but nothing is particularly Oscar-caliber in the performance section. Bai Ling (`Red Corner') is strong in a small but important role as the King's latest concubine. Ultimately, `Anna and the King' loses it's grasp on certain possibilities for prolonging it's running length for the wrong reasons (a war is materializing, the leads begin to grow apart...). But it's still a nice filler, boasting solid performances and an attractive look that will appeal to viewers of all ages. Just try to concentrate on the good stuff, and pick a comfortable seat.
(C) 1999, Jamey Hughton
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