The King and I
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Originally conceived as a vehicle for actress Getrude Lawrence, The King and I – Rodgers and Hammerstein's sixth musical – tells the story of Anna Leonowens, an English schoolteacher who travels with her son to Siam to teach the children of the King. It covers their entire history. From the beginning, at least according to Anna's account, they had repeated clashes personally, professionally, and culturally. The last two are related, since she was hired to teach his children, wives, and concubines about Western culture and bring Siam up to date, which is difficult when the King believes she is wrong. All the while, in the greatest tradition of adversarial love stories, they fall in love with each other.
In 1956 the musical was adapted into a movie starring Deborah Kerr and Yul Brynner. In 1999, it was yet again made into a movie, this time animated.
See also: Anna and the King.
Tropes used in The King and I include:
- Adaptation Distillation: The movie, widely considered to be the best of the R&H screen adaptations (or at least second only to The Sound of Music), taking a Best Picture nomination at the 1957 Oscars.
- The insert for the 50th Anniversary DVD quotes that Oscar Hammerstein II called it the finest work he and Richard Rodgers ever produced.
- Animated Adaptation: The 1999 film (see below for its tropes).
- Asian Gal with White Guy: A rare inversion.
- Bald of Awesome: The King's original Broadway actor, Yul Brynner, had his head shaved at the makeup artist's recommendation. Brynner carried this trope on into the movie, and several of his successors have tried to accomplish this in revivals.
- Additionally, Yul Brynner carried this trope into every other project he did for the rest of his life.
- Based on a Great Big Lie: The musical was based the non-fiction novel Anna and the King of Siam which itself was filmed in 1946. This in turn was based on two books by the real Anna Leonowens, The English Governess at the Siamese Court and Romance of the Harem. Although in the West they were thought to be non-fiction, they were in fact outright lies. About the only verifiable details in them are that Anna Leonowens did in fact work as a teacher (and later as a language secretary) for King Mongkut of Siam, and that some of his children did remember her fondly (although they were distressed by the stories she had written about their family).
- She was not the only, or even the primary, governess/teacher in the palace.
- The king certainly did not have a romantic relationship of any sort with her. In fact, he regarded her as a "difficult woman and more difficult than generality".
- The story of Tuptim, which Anna admits was "based on palace gossip", never happened. Unfaithful concubines in the time of Mongkut were simply dismissed.
- Anna herself was not all that she appeared to be. She took great pains to conceal from the world that she was half Indian, changing her name repeatedly (from her birth name of "Anna Harriet Emma Edwards" to "Anna Leon-Owens" and "Anna Leon Owens") and repudiating family members who could out her.
- Also, all the film and theatrical versions of her story are based on Margaret Landon's novelized adaptation of Anna's books, Anna and the King of Siam, and not even on Anna's own work.
- Beta Couple: Lun Tha and Tuptim.
- Blatant Lies: When Anna tells the King, doubting her wisdom, that she is much Older Than She Looks.
- Catch the Conscience: Tuptim, at the end of "The Small House of Uncle Thomas," declares: "I too am glad for death of King. Of any King who pursues slave who is unhappy and tries to join her lover!" She almost gets carried away before a musical signal reminds her to deliver the bittersweet epilogue of the story. The King does not ignore this insult to his authority.
- In the movie, the King commanded her to end her speech with a snap of his fingers.
- Costume Porn: Ladies, at some point you lusted after that pink silk ballgown. Admit it.
- Culture Clash: The King's manners against Anna's.
- Does Not Like Shoes: The entire population of Thailand is perpetually barefoot except for the king, and his wives in the scene where they are introduced to the British imperialists.
- Eloquent in My Native Tongue: The King butchers English grammar.
- Fiery Redhead: Anna.
- Glad You Thought of It: Invoked It's a minor plot point that Anna has to do this because she cannot be seen as offering advice to the King. So she pretends to be guessing what he's going to do - and quite naturally he says that she's guessed right, and then proceeds to do just what she "guessed" that he would do.
- Land of My Fathers and Their Sheep: In "Shall I Tell You What I Think of You?", Anna says she's from Wales.
- Mighty Whitey: When you get down to it, this is basically the premise.
- Mood Whiplash: As Anna and the King waltz in a moment of shared happiness, a guard reports the capture of Tuptim, creating a heated debate between Anna and the King over whether or not Tuptim deserves a whipping.
- Mooning: The King's wives accidentally do this to some visitors from England. One of the visitors accidentally scared the wives away with his monocle, causing them to lift up their skirts and run away. (Anna forgot to make them undergarments.)
- Painful Rhyme: Lampshaded in-universe when Anna sings "Shall I Tell You What I Think Of You?", mispronouncing "employee" to rhyme with "pay" and "libertine" to rhyme with "concubine"... and then correcting herself.
- Pimped-Out Dress: Oh My God. Anna's costumes weighed over forty pounds apiece. Deborah Kerr lost twelve pounds during filming as a result.
- Crosses over with Gorgeous Period Dress - those huge skirts of the 1850s are straight out of the history books.
- However, the over-the-elbow ("opera") gloves that Anna wears during the banquet scene are totally wrong for the period in question (the 1860's). Women in that era wore wrist-length gloves for both daytime and evening; long gloves, which had last been the mode in the Regency/Romantic period (up to the 1820's), did not come back into fashion until the 1870's.
- Crosses over with Gorgeous Period Dress - those huge skirts of the 1850s are straight out of the history books.
- Please Spare Him, My Liege!: Anna pleas that the king doesn't kill Tuptim.
- Show Within a Show: The Small House of Uncle Thomas.
- Unresolved Sexual Tension
- Urban Legend: Yul Brynner dancing with Deborah Kerr after having a lung surgically removed. Unfortunately, one of the Rodgers and Hammerstein tributes on the Sound of Music Blu-Ray speaks of this legend as something true.
- Verbal Tic: After Anna explains the phrase "et cetera" to the King, he acquires a tendency to insert it into several of his demands, songs, conversations, et cetera. King Mongkut really did use this in his English writing, although there's no evidence either that Anna taught it to him or that he used it when speaking English.
- "What-what-WHAT!"
- War Elephants: The King plans to send War-Elephants to help Abraham Lincoln.