Producer: Louis D. Lighton. Executive producer: Darryl F. Zanuck. Copyright 20 June 1946 by 20th Century Fox Film Corp. U.S. release date: August 1946. New York opening at the Radio City Music Hall: 20 June 1946. U.K. release: 30 September 1946. London opening at the New Gallery, and Tivoli, Strand: 11 August 1946. Australian release: 2 January 1947. 14 reels. 11,548 feet. 128 minutes.
SYNOPSIS: English governess meddles in state affairs in 19th century Siam.
NOTES: Winner of the Academy of Motion Picture Arts and Sciences' award for Best black-and-white Cinematography: Arthur Miller (defeating George Folsey's The Green Years).
Also winner of the Academy of Motion Picture Arts and Sciences' award for Best black-and-white Art Direction (defeating Kitty, and The Razor's Edge). Also nominated for Supporting Actress, Gale Sondergaard (Anne Baxter in The Razor's Edge), Adapted Screenplay (The Best Years Of Our Lives), and Scoring of a Dramatic or Comedy Picture (The Best Years Of Our Lives).
Number three in The Film Daily annual Poll of U.S. film critics.
Cutting-room floor players: Sir C. Aubrey Smith (Sir John Lawford), Margaret Bannerman (Mrs Hillary).
Rex Harrison worked out his interpretation of the king in conjunction with his drama coach, Elsa Schreiber, much to the displeasure of director John Cromwell, who complained to studio head, Darryl F. Zanuck. When Harrison was supported by Zanuck, however, the director refused to even speak to Harrison on the set, concentrating all his attention on Irene Dunne.
COMMENT: A disappointingly boring piece of feminist propaganda, somewhat overshadowed by its musical remake, The King and I. Cromwell's direction is surprisingly dull and the film would benefit by some sharp cutting. Most of Lee J. Cobb's scenes could go for a start. He is miscast and looks most incongruous as a native head-of-state. Then we would slice into quite a few of Miss Dunne's scenes and eliminate some of her close-ups .
Rex Harrison's rounded portrait of the king is the film's chief asset, though he is not as dynamic as Yul Brynner. Gale Sondergaard has a few effective moments as the king's first wife and Linda Darnell is surprisingly powerful as the unstable Tuptim. Originally, Gene Tierney was assigned to this role but she rejected it as she felt "it was too small".
The rest of the cast is completely overshadowed by the script's and the director's relentless concentration on Miss Dunne. The film is lavishly produced (though the sets and costumes cry for color).
OTHER VIEWS: An exotic soap opera. Irene Dunne and Rex Harrison as the leads are a help but running gags like everyone singing "No Place Like Home" as part of Dunne's campaign for separate accommodation or Harrison's drinking soup from a plate don't really mesh with the remarkably bizarre incident where Linda Darnell as the defecting favorite is burned at the stake; and the child's death finally plunges the whole film into the lavish weepy bracket. Cromwell's direction is indecisive. "Anna and the King of Siam" used to be a must-see experience for Siamese traveling away from their homeland where it was banned. - B.P.
SYNOPSIS: English governess meddles in state affairs in 19th century Siam.
NOTES: Winner of the Academy of Motion Picture Arts and Sciences' award for Best black-and-white Cinematography: Arthur Miller (defeating George Folsey's The Green Years).
Also winner of the Academy of Motion Picture Arts and Sciences' award for Best black-and-white Art Direction (defeating Kitty, and The Razor's Edge). Also nominated for Supporting Actress, Gale Sondergaard (Anne Baxter in The Razor's Edge), Adapted Screenplay (The Best Years Of Our Lives), and Scoring of a Dramatic or Comedy Picture (The Best Years Of Our Lives).
Number three in The Film Daily annual Poll of U.S. film critics.
Cutting-room floor players: Sir C. Aubrey Smith (Sir John Lawford), Margaret Bannerman (Mrs Hillary).
Rex Harrison worked out his interpretation of the king in conjunction with his drama coach, Elsa Schreiber, much to the displeasure of director John Cromwell, who complained to studio head, Darryl F. Zanuck. When Harrison was supported by Zanuck, however, the director refused to even speak to Harrison on the set, concentrating all his attention on Irene Dunne.
COMMENT: A disappointingly boring piece of feminist propaganda, somewhat overshadowed by its musical remake, The King and I. Cromwell's direction is surprisingly dull and the film would benefit by some sharp cutting. Most of Lee J. Cobb's scenes could go for a start. He is miscast and looks most incongruous as a native head-of-state. Then we would slice into quite a few of Miss Dunne's scenes and eliminate some of her close-ups .
Rex Harrison's rounded portrait of the king is the film's chief asset, though he is not as dynamic as Yul Brynner. Gale Sondergaard has a few effective moments as the king's first wife and Linda Darnell is surprisingly powerful as the unstable Tuptim. Originally, Gene Tierney was assigned to this role but she rejected it as she felt "it was too small".
The rest of the cast is completely overshadowed by the script's and the director's relentless concentration on Miss Dunne. The film is lavishly produced (though the sets and costumes cry for color).
OTHER VIEWS: An exotic soap opera. Irene Dunne and Rex Harrison as the leads are a help but running gags like everyone singing "No Place Like Home" as part of Dunne's campaign for separate accommodation or Harrison's drinking soup from a plate don't really mesh with the remarkably bizarre incident where Linda Darnell as the defecting favorite is burned at the stake; and the child's death finally plunges the whole film into the lavish weepy bracket. Cromwell's direction is indecisive. "Anna and the King of Siam" used to be a must-see experience for Siamese traveling away from their homeland where it was banned. - B.P.