Rodgers and Hammerstein's The King and I feel stagey and old-fashioned as far as musicals go, the only memorable songs ones that could be applied to many contexts. It works better as a culture clash comedy (despite the dated racial insensitivities of the casting), Yul Brynner having a grand old time as the petulant but open-to-being-open-minded King of Siam and bouncing well enough against Deborah Kerr's school teacher. By and large, it hasn't aged well, though one might wonder if the Thai opera of Uncle Tom's Cabin in the middle of the story (my favorite bit because of an interest in stagecraft) is meant to be some kind of meta commentary about cultural appropriation, but ultimately, the film appropriates more than comments on appropriation. Or rather, its comment is that it's a fine thing to do. Dated in several ways, then.
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thestuman101694
I did not like this movie. Louis is a dumb ass, and the dialogue is idiotic. Et cetera, et cetera, et cetera.Siskoid
Rodgers and Hammerstein's The King and I feel stagey and old-fashioned as far as musicals go, the only memorable songs ones that could be applied to many contexts. It works better as a culture clash comedy (despite the dated racial insensitivities of the casting), Yul Brynner having a grand old time as the petulant but open-to-being-open-minded King of Siam and bouncing well enough against Deborah Kerr's school teacher. By and large, it hasn't aged well, though one might wonder if the Thai opera of Uncle Tom's Cabin in the middle of the story (my favorite bit because of an interest in stagecraft) is meant to be some kind of meta commentary about cultural appropriation, but ultimately, the film appropriates more than comments on appropriation. Or rather, its comment is that it's a fine thing to do. Dated in several ways, then.