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The King and I

The King and I

Romance · History · Drama · 1956

Widowed Welsh mother Anna Leonowens becomes a governess and English tutor to the wives and many children of the stubborn King Mongkut of Siam. Anna and the King have a clash of personalities as she works to teach the royal family about the English language, customs and etiquette, and rushes to prepare a party for a group of European diplomats who must change their opinions about the King.

Movie details

The King and I

“More than your eyes have ever seen… More than your heart has ever known!”

1956 Romance · History · Drama 2h 13m

Critical arithmetic

One number, for now.

TMDB

7.1 / 10

Community rating

Widowed Welsh mother Anna Leonowens becomes a governess and English tutor to the wives and many children of the stubborn King Mongkut of Siam. Anna and the King have a clash of personalities as she works to teach the royal family about the English language, customs and etiquette, and rushes to prepare a party for a group of European diplomats who must change their opinions about the King.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over The King and I?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

Walter Lang

Written by

Ernest Lehman

Deborah Kerr

Deborah Kerr

Anna Leonowens

Yul Brynner

Yul Brynner

King Mongkut of Siam

Rita Moreno

Rita Moreno

Tuptim

Martin Benson

Martin Benson

Kralahome

Terry Saunders

Terry Saunders

Lady Thiang

Rex Thompson

Rex Thompson

Louis Leonowens

Carlos Rivas

Carlos Rivas

Lun Tha

Court is in session

Put The King and I on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Prestige Tourist

“Ambition earns the room.”

The film reaches for consequence and scale, accepting the risk of seriousness instead of shrinking from it.

The prosecution The Popcorn Loyalist

“Importance has entered the chat.”

The production keeps announcing its significance, as though awards-season posture were proof of insight.