by Sam Juliano
Richard Rodgers and Oscar Hammerstein II are the “Giacomo Puccinis” of the stage and screen musical form. Like the Italian opera master, the American composing team wrote flowing and sonorous melodies in the service of basic story lines that showcased romance as the central plot device. Like the Italian, their stage work has achieved enormous popularity with the public. In fact, Rogers and Hammerstein remain to this day the most popular composers of show music, much as Puccini is hands down opera’s most resounding audience favorite. Rodgers and Hammerstein were further linked to their European compatriot in the international scope of their musical vision. Puccini’s four defining works were set in Rome, Paris, Japan, and China, while the composing duo set their own seminal half-dozen works in Oklahoma, New England, the Middle West, the South Pacific, Austria and the Far East. Of course when romance and high drama are played out in such scenic and exotic locations that seem almost cut off from the rest of the world, one immediately understands the creators are striving to apply universal themes that are realized in the passion-infused words and music that have remained a staple in their respective forms.
Puccini’s lush melodic felicity was never more evident than in comparing the composer with the American duo than in a work that appeared in the early 50’s that contains what is unquestionably one of the supreme treasures of the musical theatre. Less than a year after Carousel debuted in theatres, a new Rodgers and Hammerstein musical was set to stage. The King and I was developed from a book by Margaret Landon and a 1946 film, both of which used the title Anna and the King of Siam. The story centered around a genteel Englishwoman who arrives in 1860’s Siam to assume a job as a tutor for the large brood of children of the traditionalist but very curious King. Anna develops a relationship that borders on love for the obstinate monarch, and before he dies,. she tempers her outrage at his seemingly cruel behavior and antiquated sense of justice, by acknowledging his agility and understanding the critical differences between the West and the East. During her time spent with the King she learns the true meanings of pride, racial tolerance and intolerance and human limitations. The novel made such an impression on Gertrude Lawrence that she purportedly approached Rodgers and Hammerstein about adapting it as a musical for her. Theatre historians have asserted that the duo were particularly intrigued at the prospect of doing a play with an Oriental locale, and immediately set off to find their King. They finally decided on a little-known bald-headed actor named Yul Brynner, who, is said to have for his audition, sat cross-legged on the stage, playing a guitar and singing gypsy songs. The possibility of creating a story around the characters of the straight-laced Anna Leonowens and the semibarbaric monarch fascinated Rodgers and Hammerstein. The pair are quoted to have stated that “the intangibility of their strange union was a challenge to us as librettist and composer. In dealing with them musically, we could not write songs which said “I love you” or even “I love him” or “I love her.” We were dealing with two characters who could indulge themselves only in oblique expressions of their feeling for each other, since they themselves do not realize exactly what those feelings mean. This quandary and inability to consumate inner passsions is what sets The King and I aside from anything that Rodgers and Hammerstein had ever written before and after, and for that matter anything Puccini had ever worked with.
The resounding success of Brynner in the stage role inspired Twentieth Century Fox to follow suit for the film version, and Brynner took full control, blending his fierce and magnetic eyes and his imperious, stiff-backed stance to form a character who was fully in control. Deborah Kerr is wonderfully cast as Anna, conveying the softer interior and outward tenacity, and her relationship with Brynner is forged with subtlety and telling nuances. Two different people from opposite cultures and backgrounds draw apart and then together, culminately in the set piece when they dance together for the first time. The play’s book permits us to enter the complex mind of the king and into the feelings of an intelligent woman who is intrigued, puzzled and irritated by this man. It has always been suggested in critical quarters that the tragic subplot concerning the king’s young concubine Tuptim and her secret lover (while necessary to dramatize the king’s rigid code) tends to impede the action, but it also broadens the narrative arc. As Tuptim Rita Moreno is charismatic.
The film was one of the only two films (the other being Carousel) shot in the then-new 55 mm Cinemascope 55 format. Although the promotion for the film made much of it being shot in CinemaScope 55, it was only released in the standard 35 mm Cinemascope format, with 4-channel stereo instead of the 6-channel stereo originally promised. CinemaScope 55 was never used or promoted again after this production. It was a huge success upon release, both critically and financially. However, due to the representation of King Mongut of Siam, the film is banned in Thailand
Once again, with The King and I Rodgers and Hammerstein created a score to implement the action and to reveal characters and motivations, but at times with even greater effectiveness than in previous works. The king’s soliloquy, “A Puzzlement,” so different from the emotional potpouring of Billy Bigelow in Carousel, illuminates much of the personality of the untutored yet crafty ruler. Brynner imbues the number with the right blend of arrogance, wonder and confusion. In a treasure trove of unforgettable songs, the most beautiful one of all is “Hello, Young Lovers” when Kerr (her voice was dubbed by Marni Nixon, in a practice that became the standard in the late 50’s and early 60’s) luminously recalls Anna’s past, when she tells the wives of the king about her late husband, and sympathizes with the plight of Tuptim, the Burmese slave girl. Rodgers provides one of the most gorgeous and moving melodies of his career, while Hammerstein penned some of his most profound and stirring words. The result is a song masterpiece:
When I think of Tom.
I think about a night.
When the earth smelled of summer
And the sky was streaked with white,
And the soft mist of England
Was sleeping on a hill-
I remember this,
And I always will…
There are new lovers now
On the same silent hill,
Looking on the same blue sea,
And I know Tom and I are a part of them all,
And they’re all a part of Tom an me.
Hello young lovers, whoever you are,
I hope your troubles are few.
All my good wishes go with you tonight,
I’ve been in love like you.
*Be brave, young lovers, and follow your star,
Be brave and faithful and true,
Cling very close to each other tonight-
I’ve been in love like you.
I know how it feels to have wings on your heels,
And to fly down the street in a trance.
You fly down a street on the chance that you meet,
And you meet-not really by chance.
Don’t cry young lovers, whatever you do,
Don’t cry because I’m alone;
All of my memories are happy tonight,
I’ve had a love of my own,
I’ve had a love of my own, like yours-
I’ve had a love of my own.
Kerr joins with the king’s children in the utterly charming “Getting To Know You,” which contains one of the score’s most popular and recognizable tunes. It’s an elaborately choreographed number that provides for one of the play’s greatest thrills, the effect is sustained in the film version, without seeming consciously stagy. This is achieved by some smart variety of mid-range and close-ups, and brisk unobstrusive direction by Walter Lang. Until The Sound of Music in 1965, The King and I is the most successful stage-to-film transference of Rodgers and Hammerstein’s work. The score’s most sexually-charged number is the ever-popular “Shall We Dance?” where mutual admiration and sexual attraction is played out in an elaborate but yet intimate solo dance in the ballroom. This is the one sequence that best exemplifies the spirit and essence of the film, broaching as it does The King and I’s most irrestible budding relationship, which sits rightly at the center of the drama. As his head wife Lady Thiang, Terry Saunders expresses a familiar but admittedly dubious Hammerstein sentiment – love your man even when he is behaving badly or foolishly – in “Something Wonderful.” Yet no better example of the way Rodgers and Hammerstein use a song to illustrate a dramatic example could possibly be posed. Lady Thiang, the king’s No. 1 wife pleads with Anna to remain at court after she has decided to leave. Nothing can seemingly sway the determined governess. Then, as a final effort, Lady Thiang sings “Something Wonderful.” In the song, while admitting all the ruler’s faults, she emphasizes his hopes and aspirations and expresses her own belief that with Anna’s help he could accomplish “something wonderful.” This alone changes Anna’s mind, and she agrees to remain in Siam. There are two marvelous musical show pieces as well: the “March of the Siamese Children” and the ballet “The Small House of Uncle Thomas.,” which is a Siamese version of Uncle Tom’s Cabin.
Ironically the film version of The King and I benefits from the pagentry that surrounds it’s intimate subject in much the same way as Puccini’s Far East opera Turandot survived it’s extravagent sets. And much must be said for the sumptuous costumes and lush cinematography by Irene Sharaff and journeyman Leon Shamroy, respectively. The point is that a strong narrative with compelling characters will always survive the pictorial competition of elements that any turn can overwhelm of obsfugate the central drama. Lang was smart to straddle the middle-ground between complete fidelity to the stage or a purer cinematic interpretation, and as a result he was able to uphold the integrity of the material, and respectably transcribing a beloved work for posterity.
How The King and I made the ‘Elite 70’:
Dennis Polifroni’s No. 22 choice
Judy Geater’s No. 27 choice
Marilyn Ferdinand’s No. 27 choice
Pat Perry’s No. 41 choice
Sam Juliano’s No. 44 choice
Greg Ferrara’s No. 65 choice
Click on names for archives
Writers/Founders
Nice history and analysis of the work, which I’ve definitely seen onstage but not, I’m pretty sure, on screen (I’ve seen parts to be sure but honestly can’t recall if I ever sat down and watched the whole thing. I don’t think I have.)
And curse you, man, now I’m going to have “Getting to Know You” stuck in my head all day tomorrow. 😉
Joel—
Lucille and I went armed last night into Manhattan with the CD of the silm score of “The King and I.” The song you mention was played once on the way in and then again coming home, and I’ll admit it’s unreasonably infectious.
I also saw this once on stage, and it was a most memorable experience. Thanks for the very kind words my friend.
Love, the Puccinin references that you are so right about, Schmulee…
This has, if I remember my ballot correctly, been my favorite RODGERS AND HAMMERSTEIN film after THE SOUND OF MUSIC and, for the most part, hold together better than the others. I think this has to do with the attainable story that is beloved by the masses, the score that helps accentuate the budding romance and the “beauty and the beast” relationship between Anna and the King and, most notably, one of the greatest performances by a male actor in the history of all musicals.
Kelly and Astaire aside, musicals don’t really see strong characters in the male leads. Aside from the good singing and terrific dancing, most of them come off dramatically like whimps and losers or, worse, so over-the-top macho that they don’t even resemble a human being anymore (Christopher Plummer woulod have suffered that fated his character not lightened up mid-way through SOUND. With Yul Brynner, the King is played strong with a curiosity and intelligence and he stays that wayfor most of the film even when the bite of cupid starts to rear its head. Brynner is also totally convincing as the King of Siam and his exotic good looks and solid physique work to the films benefit and not like other musicals where the best singer or dancer is buried under pounds of make-up.
The cinematography, set designs and costuming are lush, extravagant and push the color cinematography to the limit. I came to this film relatively late in life and was fascinated (particularly after seeing the TALES OF HOFFMANN_ by how I could have been fooled into thinking this film might have been directed by Powell and Pressburger. It’s got the look, the feel and it’s got one of P+P’s favorite gals, Deborah Kerr.
Anyway, SAM has written another exemplary piece on one of his favorite subjects in music. Rodgers and Hammerstein deserved nothing less.
Dennis—-
You’ve penned an “exemplary” analysis yourself here, with acute perceptions and appreciation of the film’s artistry, immortal score, and beloved lead characters. Yes, Brynner was remarkable, and won not only the Oscar that year, but honors from major critics’ group, coming on the feels of his Tony award a few years earlier for the same role. He actually played the King 4,525 times over three runs, the last in 1985 just months before his death. Brynner had quite a year in 1956, not onlt starring in THE KING AND I, but playing opposite Ingrid Bergman in ANASTASIA and as Rameses in De Mille’s THE TEN COMMANDMENTS. Great point about the color reminding you of Powell and Pressburger, and of the comparable performances of the lovely Miss Kerr.
Thanks so much for the very kind words my friend.
Sam – This is a fine piece on a fascinating entry in the musical theatre genre, easily one of your most fluidly written and engaging pieces. I’ve always rather thought that the star-crossed lovers were stand-ins for The King and Anna as how their respective cultures would view their “mixed” marriage if their love were to come to fruition. I even think “Hello Young Lovers” is a reassurance to audiences that Anna has put thoughts of a new and forbidden love behind her, making the sexy waltz more acceptable and the love Anna and the King have for each other seemingly more spiritual.
I also wonder whether Jerome Robbins, who choreographed the March of the Siamese Children, the ballet The Small House of Uncle Thomas and the “Shall We Dance?” waltz, might have gotten a spark of an idea for West Side Story from this musical and the Tuptin story – and Rita Moreno.
Marilyn—
Terrific connection there to the ‘star-crossed lovers’ and a persuasive and enriching interpretation of “Hello Young Lovers.” Surely Jerome Robbins did get more than a spark from his experience on “The King and I” and Rita Moreno’s carry-over seems all that more fitting. Thanks so much for the very kind words and great comment my friend.
You make a very convincing case for the remarkable similarities between R & H and opera’s most popular composer, Sam. Seems like M-E-L-O-D-Y with a capital M rules the roost in their sphere of operation. ‘The King and I’ is a difficult film to mount any serious criticism against. There seems to be a natural bonding with the stage version, with most of the scenes indoors in the palace. I agree with you that the score is one of the finest ever written, and also would cite ‘Hello, Young Lovers’ as the best moment.
That’s an amazing number of performances for one actor to manage. And it’s unusual I think for the actor who plays the original role on stage to go on to be cast in the film version. I also loved Brynner’s performances as Pharoah Rameses, in ‘The Ten Commandments’ who was the perfect villainous foil to Charleton Heston’s Moses. Sue and I just looked at that blu-ray set of the (de Mille) film a few weeks ago. It is really something.
Yet again you write with engagement and style, always with wonderful attention to the music. You are on fire.
Great comment here Frank!!!!
So this is how you spend your Sunday afternoons catching up on paperwork! Ha! Always much appreciated of course. Yes I think the blu-ray of THE TEN COMMANDMENTS is spectacular – one of the bets out there in fact. Telling words there on Brynner’s pre-eminence. Thanks for the wonderful words.
Sam,
Very nice essay from you and I appreciate your ability to connect the work of R&H to Puccini, something I would never have connected myself, but with your knowledge of opera, it makes perfect sense. I saw this a few months back in preparation for this countdown. My expectations may have been too high, as I was somewhat underwhelmed by it. A few things of note. I have an objection to dubbing in musicals. It’s a big distraction for me when it occurs and it is the same here. Yul Brynner for some reason here comes across very one-note and seems to lack much in the way of subtlety. I normally love his performances, but it didn’t work for me. Also, I found the subplot of Tuptim to yes, be a distraction. I think The Sound of Music’s subplot of the eldest daughter and her blossoming love to be far more successful a subplot. Also, am I the only one who feels that the plots of The King and I and The Sound of Music overlap quite a bit??? I found it to be very apparent. Anway, brilliant essay as usual Sam and I only wish I enjoyed it as much as the others do.
Jon—
Thanks once again for the towering comment. Yes, I have always seem a striking similarity between Rodgers and Hammerstein and Puccini that begins with their artistry and goes further to subject, universality of themes and reception. I well understand the issue of dubbing in musicals at that period. As you well know it is prevalent too in MY FAIR LADY, WEST SIDE STORY and THE SOUND OF MUSIC. I completely disagree on Brynner, who I thought gave a marvelously charismatic turn, but I can definitely see why you or anyone can see the one-note aspect to his performance. I do agree about the subplot coming off as distracting. There is no doubt there is some overlapping between the two you mention here as well as other R & H’s. Their treatment of romance is recycled, but again that all part and parcel to this form and teh music that informs it, especially theirs. Again I thank you so much for enrichly every thread you come to immeasurably, Jon.
Damn Sam —
Your knowledge of musicals and opera is encyclopedic. My deepest bow to this wonderful piece (which again reminded me of the wonderful run of roles D. Kerr had from ‘Colonel Blimp’ through ‘Night of the Iguana’). With a filmography like hers, who needs a goddam lousy Oscar, eh?
Mark–
Thank you so much for the flattering words. It’s certainly quite true what you say about the great Ms. Kerr, one of those actresses who never receiving the kind of attention she deserved, mainly because her proficiency became almost a bore to some. The run you mention here is of course legendary, and I’d even go earlier to MAJOR BARBARA, CONTRAND and especially LOVE ON THE DOLE the near-masterwork where she really made her mark playing Sally.
Sam, I’ll second the comments of others that this is a wonderful piece of writing, one of your best ever. The repeated comparison to Puccini was deftly handled. This kind of comparison strategy can be a lazy way of writing about film (or any other art), but you did it in a meaningful way that really illuminated this film. I’m on board with you and others that “Hello, Young Lovers” is the most memorable and beautiful song in the score, a great addition to the R&H songbook, and an insidious melody that can be impossible to get out of your head. “Getting to Know You” is one of those cheerful doggerel ditties in the style of “Happy Talk” and “My Favorite Things” that can provoke an instant smile. The melody of “Shall We Dance” has always reminded me of a melody from an earlier, classical piece of music, but at the moment I can’t recall what it is. (Maybe Sam can identify it.) “A Puzzlement” is a great chatter song where Rodgers resisted coming up with another gorgeous melody (he seemed able to do this in his sleep) and let the words express the mood. For me this is Brynner’s finest moment in the film. Kerr seems to have been born to play this role. It’s one of the best of her many great performances, and the way she shows how in trying to free the king from his conservative mindset she inadvertently does the same for herself is masterful. In general I’m not a big fan of Marni Nixon’s dubbing (although her voice is lovely and her technique perfect, she seems to lack the emotional expressiveness of the great singers–she never convinces me that she’s living the emotions of the song), but here for once the voice seems to suit the actress she’s dubbing for. If Deborah Kerr could sing, this is surely the way she would sound! Like others, I find the Tuptim subplot disconcerting, but I understand it comes from the original story and that R&H seemed to feel compelled to include a serious subplot to giver their shows gravity. A great job, Sam, on one of the most satisfying movie versions of a R&H musical.
R.D.
This is absolutely one of the two or three greatest comments that has ever appeared under any review that I have written at this site. You have me completely floored, and I don’t know where to start here to show my appreciation or to deal with the bevy of superlative insights you’ve offered into the score, the dubbing, the songbook, Yul Brynner, and the writing strategy.
Yes, indeed, comparison writing can well be an easy way out, and I can only thank you for seeing what I was trying to do here. I agree with that brilliant insight into the failure of Nixon’s singing to achive emotional expressiveness, but she was at the top of her game as Anna. My wife Lucille will corroborate your claim that the melody of “Hello Young Lovers” is incidious, as I have been singing it in the car the last few days and have been given the film soundtrack some serious “airplay.” Yes, Rodgers had the rarest of gifts, and was able to craft some of the most gorgeous melodies heard by the human ear. You have me thinking of that classical melody that’s comparable to “Shall We Dance?” but I’ll have to get back here. I will give it thought as I am preparing the diary. Yes, agreed on “puzzlement” as a big moment for Brynner, and necessity for the Tuptim subplot.
I thank you again Sir for all you have done for this countdown, and for the Rogers & Hammerstein reviews you have been stupendous.
The final Rodgers & Hammerstein film will be appearing Tuesday, and it’s the one I’ve invested some much of my own passions through my life. Ironically, on balance it may be the weakest of their scores, those such is statement of course is relative to the form they illuminated.
Sam, this is my favorite R&H movie and probably a top-ten musical for me. I asked a few weeks ago about the importance of performance in the great musicals, and King & I answers the question with a twist because it is the acting of Kerr and Brynner (on top of Brynner’s musical contributions) that really puts this one over. Brynner’s may be my favorite male performance in any musical. The stagings of “Shall We Dance” and “Small House of Uncle Thomas” are outstanding usages of the wide screen. I suppose I’m a sucker for the story; I even feel that the Jodie Foster-Chow Yun Fat version is unfairly underrated. It’s sad that Brynner was once reduced to playing the role in a sitcom, but at least that wasn’t the end for him. I look forward to the remaining 22.
Samuel–
The more I think about this (and I’ve been singing “Hello Young Lovers” in my computer room all night (with the door shut of course) the more I realized I should have had it much higher on my ballot. I was concerned about making my ballot top-heavy with R & H, but I should have gone with my true feelings. Ah well, I applaud you for having in your top ten. And I applaud you for naming it your favorite R & H. I do well remember that question of afew weeks ago, and completely agree with you on the staging of “Shall We Dance?” and “Small House.” The “Getting to Know You” number also makes very good use of the wide screen. True too what you say about the Jodie Foster-Chow Yun Fat version being underrated; I thought George Fenton’s score was exceptional, but it was all so well mounted.
Thanks for your welcome words of interest my friend. And thanks for your brilliant and unwavering support.
Sam, a wonderful and entertaining essay as always! I remember seeing this film with my parents back in the 1950’s, my age had to be in the single digits. This was the first and last time I saw this film so giving it any kind of an assessment is not possible, though what sticks in my mind are the costumes, which I was amazed by, and Yul Brynner who frankly scared me! (LOL).
Thanks so much John for that personal anecdote, kind words and keen observations on the physical look of the film and on the imposing Brynner, who was only the ninth person in history to win both an Oscar and a Tony for the same role on stage and film. I can imagine what kind of impression he had on you at that age!
All your work on Rogers and Hammerstein has been outstanding, Sam. The infectious score of “The King and I” is an offer that’s tough to refuse.
Frederick—
Even while I sit here at this very moment addressing you I have my THE KING AND I film CD soundtrack playing in my computer room.
And mind you I am working feverishly on my THE SOUND OF MUSIC review that is due to post late tonight! Ha! Infection, you say? Tell me about it. My kids are trying to watch something on the plasma and they need to hear this!
Thanks for the kind words my friends.
You have an unblemished track record for great reviews written for the musical countdown. I admire your passion and ability to maintain such high standards. I don’t know where you find the time with all that you have on your plate.
Sue really loves this movie, and we both saw a high school production in Essex County about eight years ago. It was an amazing show.
Peter—
I’ll admit this latest stretch has been murderous, with this review up, another one on THE SOUND OF MUSIC late tonight, FIDDLER ON THE ROOF fopr tomorrow night, and OLIVER! for Friday (late Thursday night) That’s four reviews in six days! Now I know how Allan Fish feels, and how Maurizio felt when he handled the noir countdown all by his lonesome. I salute those guys. And Jamie Uhler with what he and his band did with the horror poll.
And how about Stephen Russell-Gebbett with the animation. Those guys are supermen!
Anyway, I will have difficulty getting to the diary responses tonight, what with this review at bay.
That’s great that you and Sue got to see a community production of THE KING AND I. Nice.
Thank you Sir.
Sam, I’m struggling just to keep up with commenting on your reviews, so can’t think how you are managing to write them all in the time available, along with everything else you do! I don’t think anyone will worry if you don’t have time to answer the comments in the diary thread!:)
This is another great review and very interesting to see you writing about this one almost in the same breath as R&H’s ‘The Sound of Music’, since the two have so much in common – both with a younger woman/outsider drawn to the eccentric/autocratic older man who she comes to know by looking after his children – traces of ‘Jane Eyre’. (I know in ‘The King and I’ there is no possibility of romantic love, and even if there is it can’t be recognised, but the friendship and difficult mutual respect built between the two add up to an intense relationship all the same.)
Come to think of it, the Nellie/Emile relationship in ‘South Pacific’ has some similarities too – and of course the desire to break through prejudice and for people of different cultures really to understand one another is something else that ‘South Pacific’ and ‘The King and I’ have in common.
Thanks again Judy for the high-octane comment and sustained appreciation of R & H. You make some superb parallels there between SOUTH PACIFIC and THE SOUND OF MUSIC (and to JANE EYRE in fact!) and your delineation of the relationships is beautifully posed.
Talk about lateness here Judy. I take the cake in getting back here well after you place these two awesome responses. My apologies.
Thanks a million as always!
PS, on Marni Nixon’s dubbing, I think it works better in ‘The King and I’ than in ‘My Fair Lady’ because her voice seems closer to Deborah Kerr’s – there is an interesting interview with Marni on Youtube where she talks about how she and Kerr got on very well and worked together for a week on each song before even starting to record. Marni says that the studio had threatened her with all kinds of dire repercussions if she let anyone know she was doing the singing, but then Kerr revealed it to an interviewer so that she didn’t have to worry about it any more!
Thanks so much Judy for posting this fascinating you tube clip with Marni Nixon! It enriches this thread immeasurably, and deals with a matter that vital to the creative fabric of the film, and what happens when two artists have a special performing kinship.
It’s amazing how the studio tried to intimidate Nixon into silence. Kerr, however, spilled the beans!
I enjoyed this talk with Nixon too. I always knew her voice was a perfect fit for Kerr.
A scholarly piece with a terrific hook. Again I say it’s one of your finest essays. But you really have a passion for Rogers and Hammerstein. This is my own favorite score of all their works. I thought Brynner and Kerr were perfect choices. Brynner particularly with that Broadway run.
I really enjoyed the comparison of R&H to Puccini.