In a perfect world, or at least one in which foreign films weren't relegated to the cultural outposts, Gong Li and Chow Yun-Fat would be American celebrities. Already hugely popular in East Asia, both are incredible actors with stunning good lucks and charisma that leaps off the big screen. But because they've starred almost exclusively in Chinese movies, their names barely register with the average filmgoer. This weekend two movies starring these fine actors opening. And while Gong Li's The Emperor and the Assassin will, by virtue of its subtitles, miss a large audience, Chow Yun-Fat could finally get the American success he deserves with his turn in Anna and the King.

Anna and the King is the fourth Hollywood movie based on the diary of Anna  Leonowens, an English woman who went to Siam in 1862 to tutor King Mongkut's children. In this adaptation, Jodie Foster (Nell, Silence of the Lambs) plays Anna as a strange cross of shy and impertinent--shy about matters of love, impertinent about almost everything else. In her initial scenes, she forces her way into the king's presence, refuses to kneel before him despite the local custom, and basically reminds the audience why the fall of the British Empire was such a good thing.

Fortunately, the king, despite his regal authority, is a forgiving man, and soon he's putting Anna in charge of schooling all 58 of his children, along with his many wives and concubines. Being a plucky soul, she accepts the challenge and is soon teaching by the sea underneath a beautiful pagoda. Along the way, there's a confrontation with the king's eldest son, a friendship with a concubine still pining over her lost love, and a slowly growing romance for Anna herself.

But let's get back to that pagoda, a stunning flower-strewn wood structure that's just one piece of an incredible palace design. Production designer Luciana Arrighi and set decorator Ian Whittaker have created a set so gloriously beautiful that the audience won't realize how slow the movie is in the first 45 minutes; and cinematographer Caleb Deschanel (Fly Away Home) captures it all with gliding camera shots and truly spectacular night lighting. The first hour of the film, when we're introduced to the king's family and Anna, is sumptuous and gorgeous. And once we tire of that, Chow Yun-Fat takes over.

Describing star power is a difficult task. Why did Marlon Brando dominate every movie he was in during the '50s and '60s? Why has Jack Nicholson been such a force for over three decades? Why do we remember every aspect of those actor's performances and so quickly forget other equally talented though less charismatic figures? I'm not sure why, but whatever it is, Chow Yun-Fat has it. His English might be stilted, but the way he carries himself--his style, his suave line readings, even his smile--commands attention. I have no interest in smoking, but after watching him light up a cigar, I had an incredible urge to take up the habit. And his enlightened monarchy almost makes polygamy seem like a worthwhile alternative.

The supporting cast in Anna and the King is also strong. Particular mention should go to Princess Fa-Ying (Melissa Campbell), who gives one of the most adorable performances in movies this year. Her radiant smile and coy demeanor is enchanting, and when she dances with herself I suspect every adult in the audience wants to join her. But all of the children are good, and it's kind of a shame when that subplot loses steam two-thirds into the movie.

In the end, though, this is a star vehicle for Jodie Foster, and she acquits herself nicely. Though there are far too many reaction shots, her interaction with both the king and the other characters is believable and interesting. The movie may be a bit long at 147 minutes, but Foster and Chow have a strong enough chemistry to carry the film. And Andy Tennant's (Ever After) direction combined with the aforementioned cinematography make even the boring scenes lush and beautiful.

Anna's diary has come under fire in recent years for alleged exaggerations and fabrications, and this film version adds some of its own. But as the king mentions, "Everyone should have legends. They allow us to dream." And so it is with Anna and the King. 

J Robert Parks 12/14/99