Anna and the King

Review by Thomas Glorieux:

Orchestral rich and ethnic dramatic scores are always the cream of the crop with nomination time. Anna and the King, another rich effort of George Fenton was nominated for a Golden Globe and it became one of the strongest scores of the year, but couldn't win and it was forgotten when the Oscar nominations were publicized. Still, in some way or another I can understand why it didn't receive a nomination at the Oscar gala, but in another perspective I have also questioned multiple nominations by the Academy in the past. This is always a question of right and wrong, and certain times I feel that's it wrong, and on other occasions it judges completely different. The point is that I needed far more tries then expected, and it took time to fully appreciate the brilliant intentions Fenton has created towards the film and score. The song at the start uses the main theme and it becomes stronger with each occasion, the main theme is sadly not so developed in the score like I witnessed in the song, this of course makes the entrance of Joy Enriquez more important on its own.

This score doesn't contain the orchestral grandeur I expected. Of course there are moments, but when you're in the right mood you fully appreciate the dignity and mystery of the other romantic moments. Tracks such as 'Arrival at the Palace' and 'The Execution' were praised by so many fans for its sublime score. I on other hands begged to differ, but one moment it simply captured me and fully deservedly so, because how Fenton underscores these moments so rich yet so stylish and so romantic is incredible. It really didn't need that orchestral power because that was saved for the latter moments. And namely 'Anna Returns' brings all the grandeur that was missing before that. The shorter tracks like 'Letter of the Week' and 'The House' are impressive little cues and 'Flowers on the Water' and 'Moonlit Beach' portray so much romance that it is indescribable. But Anna and the King offers more, stylish dancing music in 'Anniversary Polka' and action such as in 'The Bridge' and 'Betrayal' that offers the begin heard in the Tomb Raider teaser. The last track is once more impressive through its nobility and style.

I really needed time to like this score, and I encountered that on several occasions I enjoyed it more then I usually do. The mood is ver important at the end. But not until today did I understand the utter romance and dignity of Fenton's more important cues. This makes Anna and the King not an orchestral dramatic score, but more the intimate and elegant one. Together with the ethnic instrumentation it makes for a satisfying listening experience. It is the nobility and finesse that keeps Anna and the King above other scores and mainly because the composer at hand didn't wander off in familiar territory. The sound became fresh and rich and at the end it is that what makes it unique I guess. George Fenton created a very interesting romantic epic, that packs more punch when you finally understand what it's all about. This makes it one of the most interesting scores of the year, and such an important asset for romantic lovers of film music.

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Tracks

Single Disc

1. How Can I Not Love You: Joy Enriquez (4.34) Excellent Track

2. Arrival At The Palace (Main Theme Title) (6.00) Excellent Track

3. Meeting The Children (1.32)

4. Tuptim (1.32)

5. Letter Of The Week (1.38)

6. The House (1.38)

7. The Rice Festival (4.23)

8. Rajah Attack (0.58)

9. Anniversary Polka (3.20)

10. "I Am King, I Shall Lead" (2.28)

11. Flowers On The Water (4.21)

12. Moonlit Beach (1.41)

13. Betrayed (1.52)

14. Chowfa's Death (1.28)

15. The Execution (4.19) Excellent Track

16. Anna Returns (3.44) Excellent Track

17. The Bridge (6.42)

18. "I Have Danced With A King" (6.17) Excellent Track

Total Length: 59.13

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=== Link to Composer Site: George Fenton ===