Certain properties in popular culture fasten their fangs on our pants leg and never let go, no matter how we kick and yell. The story of
Anna Leonowens, British tutor to the numerous
progeny of
testy King
Mongkut, ruler of 19th century Siam, is perhaps the most persistent of these terriers.
It began life as a (possibly fictionalized) diary by its heroine and has since been a novel, a movie, a Broadway musical, a movie version of that musical and an animated feature. It is now back to being a straight movie—without songs, without the Small House of Uncle Thomas ballet (thank God), but with a lot of exotic spectacle and a rather murky colonial confrontation that gives
Jodie Foster, playing Anna, a chance to behave like a slightly
prissy but good-hearted 20th century liberal.
The basic
titillation of the tale is intact in Anna and the King: the grieving widow is, as usual, brought back to life by the affection (which dares not speak its name) that develops between her and the sexy King. Of course, since they started telling and retelling this story,
miscegenation has become a
nonstarter as a cause for
sundering true love. Hence the thought that Anna and the monarch might logically
repair to a quiet room in the palace to relieve their headaches keeps nagging as this movie unfolds.