Film Review: Anna and the King (1999)

(NOTE: Capsule version of the review is available here.)

The author of this review has decades ago noticed that participants in various online debates can, from time to time, cite Hollywood films as valid source of historical facts. This amused me very much, because Hollywood producers, when having to choose between historical accuracy and what is attractive on screen, usually opt for the latter. Same goes for choice between historical accuracy and what is “politically correct”. Anna and the King, 1999 epic directed by Andy Tennant.

The film is loosely based on the eponymous 1943 novel by Margaret Landon, which itself gave highly fictionalised version of events originally described in the 1870 memoirs of Anna Leonoewens, British governess hired to teach the children of King Mongkut, ruler of Siam (today’s Thailand). Book by Leonowens, often not deemed too accurate by historians, is better known as basis for King and I, popular musical by Rodgers and Hammerstein, which was later adapted into film starring Yul Brynner and Deborah Kerr. The plot of the film begins in 1862 when Anna Leonowens (played by Jodie Foster), widowed teacher from British India, accepts the job offer from Siamese king Mongkut (played by Chow Yun-fat) to come to his court and teach his 58 children, as well as part of his harem that includes 23 wives and concubines. At the very start Anna, who is free-spirited and stubborn, is at odds with Mongkut who, despite sincere desire to modernise his country, happens to be traditionalist in matters of court protocol and etiquette. As time goes by, two of them begin to patch their differences and become close friends. This idyllic relationship is threatened by outside events – both Britain and France are expanding their colonial empires, so Mongkut must use all of his diplomatic skills to maintain the balance between the two and thus preserve independence of his country. When Siam gets attacked by mysterious assassins from British-ruled Burma, war with British Empire seems likely and Mongkut himself becomes target of assassination plot.

Anna and the King at first glance looks like old school “larger than life” epics Hollywood used to make decades earlier. It features exotic setting and provides content that could be easily characterised as family-friendly. Cinematography by Caleb Deschanel is very good and period costumes and props are reconstructed in satisfying fashion. Two main actors are also good. American actress Jodie Foster handles the role of Victorian Englishwoman well, but biggest surprise is Chow Yun-fat, at least those who know that Hong Kong actor only for his roles in action films. Here he again proves that he has enough range and skill to deal with serious and more demanding roles. The only problem is apparent lack of chemistry between him and Foster. Scriptwriters seem to be aware, so the lack of romantic content is compensated with unconvincing subplots about rebellions and conspiracies that ultimately allows Chow Yun-fat that play action hero after all, while Foster’s character transforms into some sort of military genius.

But the biggest problem for Anna and the King is the schizophrenic content. On one hand, the script tries to defy trends of “political correctness” and tries to depict Western civilisation if not superior, at least equal to Asian civilisation. Siam is depicted as country practising slavery and harsh treatment towards women and the poor, and even Mongkut is depicted as being either indifferent towards it or unwilling to do something about it because of political considerations. It takes brave Western woman like Anna Leonowens who would point the Sisam towards the right path and out of backwardness; end titles even credit her for abolition of slavery, introduction of rule and law, democracy and other reforms that Mongkut’s successor brought decades later. This approach is exactly in line with 19th Century concepts of “white man’s burden” – idea that European white have a duty to bring enlightenment and progress to non-white savages, even if it means conquest and colonial exploitation. Almost like being aware that this won’t sit well in later, more “woke”, times, scriptwriters Steve Meerson and Peter Kriekes try to compensate it by turning to popular 1990s Hollywood trend of turning British into villains. They also try to pander to chauvinist sentiments of smug self-righteous Clinton’s America by having Mongkut praising noble American president Lincoln who is sacrificing tens of thousands of his people in war to end slavery; native tribes, that were still in process of being deprived of their land at the same time, aren’t mentioned. Those attempts, on the other hand, make this film look like clumsy and unsuccessful attempt of compromise between the old and new Hollywood. Some of the complaints towards the script came from Thailand’s government, which considered Anna and the King insulting to royal family and forced producers to use locations in neighbouring Malaysia.

At the end Anna and the King looks pretty, but its content leave too much to be desired, so the fans of historical epics should probably watch something else.

RATING: 3/10 (+)

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