Another TCM Presents, this time The King and I (1956) starring Deborah Kerr, (Anna Leonowens) and Yul Brynner (King Mongkut). Based on the memoirs of Anna Leonowens, The English Governess and the Siamese Court (published in 1870) told the story - from her point of view, of course - of her years as royal governess to the wives and children of King Mongkut of Siam. It's been made three times as a film - first as the drama with Irene Dunne (who, ironicaly, had a magnificent singing voice in a non-musical role) Anna and the King of Siam (1946), then, this version, with the wonderful Deborah Kerr (who couldn't sing, and had the equally magnificent Marnie Nixon dubbing for her). Finally, the 1999 Anna and the King, with Jodie Foster in the role of Anna. All three films, and the book, are banned in Thailand, because of the portrayal of King Mongkut. This discussion from the New York Review of Books goes into some details about their antipathy to the story (the King is made to look ridiculous, Anna seems to get preeminence in billing and advertising). But, as they point out in the article, this is HOLLYWOOD history, not real history.
There are a number of differences between the 1946 and 1956 films - most, perhaps to soften the musical a bit. In Anna and the King of Siam, the break between Anna and King Mongkut (Rex Harrison) occurs when the King burns Tuptim (Linda Darnell) and her lover to death at the stake, whereas in The King and I, Anna becomes infuriated when the King threatens to whip (but is unable to do so) Tuptim (Rita Moreno). The drama ends with Anna remaining in Siam after the death of her son, whereas the musical ends with both mother and son remaining to support young Chulalongkorn (Patrick Adiarte). Historically, Anna's on, Louis Leonowens eventually returned to Siam to become a Captain in the Royal Cavalry (commissioned by his schoolfellow, the royal prince Chulalongkorn. married twice and had two children. He lived to age 63 (he and his wife died in the 1919 flu pandemic).
This
TCM article provides some background about the Broadway musical, and the introduction of Yul Brynner into the role that would make him a star. Brynner had no illusions about Broadway or film stardom - he was planning on being a director, as he assumed his rather exotic appearance would not make him a conventional leading man. In a sense, he was right, but he became so ingrained in this role (for which he won the Tony) that there was no question that he would be included in the film version - at least on the studio's part. He wanted to direct it (and star Marlon Brando as the King). However, some hard negotiations landed him the role, script approval, and a tidy sum of money - and an Oscar. It also led to him being seen AS a leading man, albeit an unconventional one, in such films as The Magnificent Seven (1960), Anastasia (1956), and Solomon and Sheba (1959). Nor was the film the end of Mr. Brynner's association with The King and I. He played the King in the 1978 and 1985 revivals of the play. He died four months after the second revival closed.
Unfortunately, we were not to see his illustrious co-star Gertrude Lawrence
in the film. Though Ms. Lawrence had first refusal on any film
version of the play, she died of cancer in 1954 (3 weeks after her
final appearance as Anna). Supportive of her co-star, one of her last
acts before her death was to arrange that Mr. Brynner's name appear on
the theatre marquee (her name had been the only one listed). With the exception of the vocal issues, however, Ms. Kerr is a worthy successor, an actress who can do more with a raised eyebrow than most can do with their whole body. And with a wardrobe of enormous period dresses, Ms. Kerr WEARS them - they never overwhelm her or her character.
A few days after we saw this film, we were at a Disney
concert (the Wolf Trap orchestra performing to clips of Disney films),
and my husband was struck by the similarities between the ballroom scene
in Beauty and the Beast and the Shall We Dance number in
The King and I. Below are two screen shots. Note the dresses - the
same wide skirt, the same off the shoulder top, and both are shades of
gold. Even the rooms bear a resemblance to one another. Coincidence? I
bet not!
This July, we lost the wonderful Marnie Nixon at age 86. I was lucky enough to see her perform (in a non-singing role) on Broadway in James Joyce's The Dead. Ms. Nixon was a gifted actress and singer, not just a voice behind the curtain, subbing for Deborah Kerr, Natalie Wood, and Audrey Hepburn. She did eventually get to sing in front of the camera - as Sister Sophia in The Sound of Music (she obviously did NOT need to ghost sing for the lead in THAT film!) Ms. Nixon sings the line: "She waltzes on her way to mass and whistles on the stair." While we often see the illustrious actresses listed above when we think of these films, when we hum the songs from The King and I or West Side Story, it is Marnie Nixon's voice that we hear in our head. It's fitting, I think to close with Ms. Nixon singing the Shall We Dance number.
Last week, I had the unique opportunity to see a classic film with music played by a symphony orchestra. West Side Story (1961) was shown at Strathmore (in suburban Maryland), with the Baltimore Symphony Orchestra (conducted by Marin Alsop) performing the music. All I can say was that it was glorious. I had previously seen films with live music, but these were silent films and Disney's Fantasia - music with dialog or vocals. Here, so much of the film relies on the words of the songs, lyrics which propel the action of the story forward, I wondered how this would be accomplished. Though I have no idea (technically) how it was done, I happily report that the orchestra, the singers, and the film all synced beautifully. At times, I forgot there WAS a live orchestra, but the power of the music was so intense that I fell into the film in a way I never had before. With music by Leonard Bernstein, Lyrics by Stephen Sondheim, and choreography by Jerome Robbins, this film is a one-of-a-kind experience.
If you are not familiar with the story, West Side Story is a modern retelling of Romeo and Juliet. It focuses on two gangs, the Jets and the Sharks, who are struggling to retain control of their small neighborhood in New York City's West Side. The Sharks are recent immigrants from Puerto Rico. The Jets are white, also of immigrant roots; several ethnic groups are represented, including Polish, Irish, and Italian. In the midst of this strife, two young people, Tony (Anton) and Maria fall in love. As in Romeo and Juliet, these outside forces doom their pure love.
Two performances stand out. Rita Moreno as Anita, is, as always, breathtaking. I'm familiar with Ms. Moreno from a number of her performances, and I was not surprised that she blew the roof off every time she performed. More surprising, to me at least, was the electrifying performance of George Chakiris as Bernardo. When he is on the screen, it is impossible to take your eyes from him. He is a lithe and powerful dancer; his movements beyond graceful, and with a masculinity that is palpable.
Natalie Wood is quite lovely here, and her Maria is sweet and innocent at the start. She is especially good in the final scene, when she confronts the two gangs. It's well known that neither she nor Richard Beymer (Tony) do their own singing. Maria is sung by the estimable Marnie Nixon (who also sang for Deborah Kerr, Audrey Hepburn, and Margaret O'Brien). Beymer is subbed by Jimmy Bryant (who also sang for James Fox in Thoroughly Modern Millie). When these pros do A Time for Us, I dare you to listen dry-eyed. (And it is as much the power of the singing voices as it is the skill of the acting).
Some interesting pieces of trivia were discussed in the playbill: The play was originally titled East Side Story, and the rival groups were to be Catholics and Jews. This was finally rejected, because it seemed to close to Abie's Irish Rose. Warren Beatty was in contention for the role of Tony - and Natalie Wood came with him when he auditioned, which is how she was selected. The film was shot in the area that is now Lincoln Center. The film crew was allowed to work just before the tenement buildings were demolished. I was also quite taken with the opening montage of shots of New York City, circa 1961.
With or without an orchestra, I highly recommend this excellent film. TCM has named it one of The Essentials, and it surely is. Wonderful acting, great music, splendid dancing. Here is a clip that features Rita Moreno and George Chakiris singing and dancing "America". Enjoy!
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