Cinema: The End of a Long Reign

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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.

That's especially true since he is played by the marvelous Chow Yun-Fat, who interprets the role as if the cranky volatility of Yul Brynner and Rex Harrison never existed. He has all his hair, doesn't comically fracture his English and, though he occasionally loses his temper, never loses his quiet wit. There is about him a sort of watchful wariness, a thoughtful, insinuating manliness that avoids macho strutting in favor of bemused calculation. He is, in short, an absolute monarch for our postfeminist time. Cutting through the epic gesturings of Andy Tennant's direction, he provides reason enough to return one last time to this otherwise weary romance.

--By Richard Schickel