Architecture in Humanities Project 3 [ARC 3133]

ARCHITECTURE IN HUMANITIES [ARC 3133] PROJECT 3: The Final Project

TITLE:

ANNA AND THE KING

NAME:

TIOW TZE JINN 1101P13103

NATHANIEL NG YINGQIAN 1101G11582

LECTURER:

PN. AYU YUSUF

SUBMISSION DATE: 21ST NOV 2013

Anna and the King (A movie set in Siam, 1944) – Research Literature Anna and the King of Siam (novel) Anna and the King of Siam is a 1944 semi-­‐fictionalized biographical novel by Margaret Landon. It was published by Harper Perennial on the third of November, 1999.

The plot of the novel revolved around Anna Leonowens, a widow and a mother of two whom is a proper English-­‐woman, who was an unlikely candidate to change the course of Siamese (Thai) history.

She was invited by the Siamese King Mongkut where her services were to help him communicate with foreign governments and at the same time be the tutor to his children and favored wives and concubines. Stepping off the steamer from London, Anna found herself in an exotic land where lush landscapes of mystic faiths and believes resided. She later entered the king's palace, where it was filled with royal pageantries that present ancient customs and harems of the Siamese. The young prince Chulalongkorn (who was one of her students) was heavily influenced with western ideas along with British customs. He learned about Abraham Lincoln and the tenets of democracy from Leonowens and became Siam’s most progressive king in the latter days by guiding the country's transformation from a feudal state to a modern society, abolishing slavery and making radical reforms.

The novel was written more than fifty years ago, and was translated into dozens of languages.

The novel also inspired the stage musical The King and I and had subsequently been made into a film in the 1940s.

Anna Harriet Leonowens (Subject)

Anna Harriette Leonowens was an Indian-­‐born British travel writer, teacher, and social activist.

In 1849 in Poona, India she married her childhood sweetheart, Thomas Leon Owens, who merged his last name as Leonowens despite the objections of Anna Leonowens’ stepfather and mother. In 1853, Anna gave birth to her first child in Glasscott, Perth, Australia where she also started teaching in the same year. A year later, her son died and Anna was blessed with a daughter, whom she named her Avis Annie. Anna gave birth to her second son whom she named Louis in 1855.

Two years later (in 1857) Anna’s husband Thomas dies from Apoplexy in Penang, Malaysia, leaving Anna an impoverished widow. Of their four children, the two eldest had died in infancy. To support her surviving daughter Avis and son Louis, Leonowens again took up teaching, and opened a school for the children of British officers in Singapore. While the enterprise was not a financial success, it helped established her reputation as an educator.

In 1862, Leonowens accepted an offer made by the Siamese consul in Singapore, Tan Kim Ching, to teach the wives and children of King Mongkut of Siam. King Mongkut wished to give his 39 wives and concubines and 82 children a modern Western education on English language along with scientific secular lines. Leonowens sent her daughter Avis to school in England, and took her son Louis with her to Bangkok. She then succeeds Dan Beach Bradley, an American missionary, as teacher to the Siamese court.

Leonowens served at court until 1867 for a period of nearly six years, first as a teacher and on latter times, a language secretary for the king. Although her position carried great respect and even a degree of political influence, she did not find the terms and conditions of her employment to her satisfaction, and came to be regarded by the king himself as difficult.

In 1868, King Mongkut fell ill and died with his fifteen-­‐year-­‐old son, Chulalongkorn succeeding him as king. King Chulalongkorn wrote Leonowens a warm letter of thanks for her services. At the age of 27, Louis Leonowens returned to Siam and was granted a commission of Captain in the Royal Cavalry.

Chulalongkorn due to the influence of Leonowens’ teachings, made many reforms to increase Siam’s status including the abolition of the practice of prostration before the royal person. However, many of those same reforms were goals established by his father.

Her experiences in Siam (Thailand) were fictionalized in Margaret Landon's 1944 best-­‐selling novel Anna and the King of Siam, as well as Rodgers and Hammerstein's 1951 hit musical The King and I. Margaret Landon (Writer)

Margaret Landon (September 7, 1903 – December 4, 1993) was an American writer. Her best work is the novel Anna and the King of Siam, which is her best-­‐selling 1944 novel of the life of Anna Leonowens in Siam. The book has sold over a million copies and had been translated into over twenty languages. In 1950, Landon sold the musical play rights to Richard Rodgers and Oscar Hammerstein II, who created the musical The King and I. On 1949, she wrote another novel called Never Dies the Dream.

Movie Film Anna and the King (Film)

Anna and the King is a 1999 biographical drama film loosely based on the 1944 novel Anna and the King of Siam (and its 1946 film adaptation), which give a fictionalised account of the diaries of Anna Leonowens.

The film was directed by Andy Tennant and stars Jodie Foster and Chow Yun-­‐fat. It was mostly shot in Malaysia, particularly in the Penang, Ipoh and Langkawi region. It was an Academy Award nominee in 1999 for Best Art Direction and Best Costume Design.

Anna Leonowens is an Indian-­‐Born British widow; she was invited by King mongkut of Siam (Thai) to English to his dozens of children and first wife, and leading concubines. Anna brings her son, Louis with her to Siam in response. Her strong will and intelligence pleases the King, who wants to modernize his country to protect it from the threat of colonialism, whist protecting many of Siam’s ancient traditions that give it its unique identity. The King and Anna discuss the differences between Eastern and Western love, and the King dismisses the notion that a man can be happy with just only one wife.

In order to win the favors of Britain, the King orders a sumptuous reception and delegates Anna to organize it (as she herself was British). During the reception, the King verbally spars graciously and wittily with Sir Mycroft Kincaid of the East India Company, who complained about Siam for being a superstitious nation. The king dances with Anna at the end of the reception.

After months of teaching, Anna was enchanted by the royal children, especially Princess Fa-­‐Ying.

Princess Fa-­‐Ying constantly identifies herself with the spirit of the playful monkeys who lived in the trees of the royal garden. When she suddenly takes ill of cholera, Anna was summoned to her chambers to see her for the very last time. She gets there just as Fa-­‐Ying dies in Mongkut's hands, Leonowens and Mongkut mourned for her. Sometime later, when the King finds that one of the monkeys has "borrowed" his glasses, as his daughter used to do, he is comforted by the thought of Fa-­‐Ying being reincarnated (as he believes in Buddhism) had taken the form of her beloved animal.

Lady Tuptim the King's new favorite concubine, who was already engaged to marry another man, Khun Phra Balat, was brought to the court. Although the king had been kind to her, she is unhappy as she had loved Balat. She receives a letter from Balat (through Anna) only to discover than Balat had became a monk and had joined the monastery. Knowing this, Tuptim decided to run away, disguising herself as a young man and joining the monastery where her former fiancé lived. She was tracked down and brought back to the palace, imprisoned, and accused for fornication with Balat. She was initially caned along with her Balat. However, due to Anna's outburst during this incident, Tuptim and Balat are beheaded in front of the entire court, in order to save face.

Siam was under siege from what appears to be a British-­‐funded coup d'état against King Mongkut, using Burmese soldiers. Mongkut sends out his brother Prince Chaofa and his military advisor General Alak and their troops to investigate. However, it was discovered that General Alak is the man behind the coup. During the mission, General Alak poisons his regiments, and kills (Mongkut’s brother) Chaofa. He then flees Siam into Burma where he summons and readies his troops to invade Siam and kill the King and his children so that he could rule over Siam.

Later, Sir Mycroft Kincaid (of the East India Company) appeared to Mongkut’s troops to claim that the British army had nothing to do with the political disputes between Burma and Siam. With Anna's help, the King manages to hide his children and his wives in a safe place. Despite the measures taken, Alak knows of his hiding place and brings his army in pursuit of Mongkut and his family. Having no other choice, Mongkut gave Chulalongkorn (his oldest son) his final words and authority before going to face Alak with only a few soildiers. The King and soldiers place high explosives on a wooden bridge high above a canyon floor, as Alak and his army approaches. The King orders his "army" to stay back and rides to the bridge with only two soldiers. Alak, in front of his army, confronts the King on the bridge.

Anna and Louis with Chulalongkorn’s approval, orchestrate a brilliant deception from their hiding spot in the forest: Louis uses his horn to replicate the sound of a British bugle charge, as Anna "attacks" the area with harmless fireworks. The ploy worked on the Burmese soldiers, believing the King has brought British soldiers, retreated in a panic. Alak attempts to recall them but failed. Alak now stood alone, but the King refused to kill him, saying that Alak should live in shame. As the King turns to ride back to Siam, Alak picks up a gun and aims at the King, but the explosives are detonated, blowing up both Alak and the bridge.

At the end of the film, the King has one last dance with Leonowens and realizes that it is conceivable for one man to be pleased by only one woman. Leonowens stayed in Siam until his son; Chulalongkorn grew up, became a king after his father's death and abolishes slavery with abidance and help of his father's 'vision'.

Cast and Characters (Main)

Jodie Foster as Anna Leonowens

Anna Leonowens (6 November 1831 – 19 January 1915) is an independent widow teacher. She had many times shown courage to King Mongkut on many occasions and had not failed to display her strong will and intelligence; her openness seemed to please King Mongkut. Anna has a friendly and unpretentious personality which appears warm and unthreatening. Anna was also a patient and understanding listener. Her sensitivity to others becomes tense in a disharmonious atmosphere where she does not hesitate to throw lessons and insults on others when things are not right.

Anna’s honestly and genuine character became the reason Mongkut displayed his trust on her by disclosing his nation’s political struggle to her for opinions. Anna is shown to be a highly capable teacher. She is fair and teaches great values to her students, particularly prince Chulalongkorn where he learns to respect his fellows and understand responsibility. Anna also teaches the young prince of human freedom and relating it to the American book she passed to him named “uncle Tom’s Cabin”.

Many people underestimated Anna due to her gender. Anna Leonowens however, is strong as the Mongkut said of her to be “capable of being king”.

Chow Yun-­‐Fat as King Mongkut King Mongkut (18 October 1804 – 1 October 1868), was the fourth monarch of Siam (Thailand) under the House of Chakri, ruling from 1851–1868.

He was one of the most revered monarchs of the country.

King Mongkut appears controlled and capable. He values courage and effort in the face of difficulties as shown when he values Leonowens’ opinions and oppositions to his acts by acknowledging that her latent authority. He cares about his reputation. In order to save face, he lets Tuptim be executed.

King Monkut is somewhat chivalrous as displayed in the film, where he loves all his wives and concubines, said by his first wife. He is a risk-­‐taker, original and highly creative as he plans to detonate the bridge when being followed by Alak. King Mongkut on many occasions likes to use Leonowens’ teachings and method of speech to communicate with her. King Mongkut at first practices closeness in thinking and appears unreasonable in many times. But after meeting Anna Leonowens, he began to learn from her and eventually became open to western cultures and grew receptive to suggestions and opinions. He succeeds in protecting Siam from colonisation and survived the treason of Alak.

Other Casts

Tom Felton as Louis Leonowens

Randall Duk Kim as General Alak

Kieth Ching as Prince Chulalongkorn

Kay Siu Lim as Prince Chaofa, King Mongkut’s Brother

Bai Ling as Tuptim

Buildings Restricted Policies Anna and the King however, due to its fictional aspect, the film was banned from filming in Thailand (Siam) as Thai authorities protests of historical inaccuracy from the Thai Film Board.

After protracted negotiations and rewrites, Twentieth Century Fox moved the production to Malaysia. Most of the movie was filmed in Penang, Perak and Selangor, and Anna’s traditional village house is in Parit. King Mongkut’s Grand Palace was recreated at a secret location (due to sensitivity of the Thais), but part of the palace was filmed in Rumah Besar Papan, a Mandailing mansion in Papan, about ten miles from Ipoh. Filming also took place at Langkawi Island and Shah Alam, Selangor.

More scenes were filmed at Penang in Malaysia. The ’Bangkok’ street scenes filmed on Armenian Street, with very little set dressing to the 19th century Armenian merchant houses. The ‘Royal Court Room’ is the Grand Ballroom of Penang Town Hall on Jalan Padang Kota Lama (Esplanade Road).

‘Bangkok Harbour’ is Swettenham Pier, Penang Harbour. The temple, where Tuptim (Bai Ling) is captured by palace guards is Khoo Kongsi clan temple. Anna and Prince Chulalongkorn find the slave in chains in Syed Alatas Mansion, 128 Armenian Street, the 1860s house of an Arab trader from Sumatra, and one of the best examples of an upper-­‐class Muslim residence from the period, is now the premises of the Penang Heritage Centre.

Buildings (filmed in Thailand)

Bangkok Grand Palace (Bangkok)

The Bangkok Grand Palace was built on the 6th of May 1782. The structure was designed by different Kings from different reigns as the structure was constantly in modification to suit the ruler’s taste. The palace has been the official residence of the Kings of Siam since year 1782.

After the abolition of absolute monarch in the year 1932, all government agencies completely moved out from the palace.

This building can be seen when Anna, Louis and their servants were on their way to the palace. It is seen from a distant.

It is the only scene that features genuine Thai structures. Due to this reason along with the disagreement of the Thai on the inaccuracy of history, the film is banned till today in Thailand (Siam).

Buildings (filmed in Malaysia)

Summer Palace (Langkawi Island)

The Summer Palace is a beautiful bay with limestone hills and forest located at the western side of Langkawi Island, about twelve kilometres north of Pantai Cenang. It was recreated in Pantai Kok.

The replica of the Summer Palace was to represent the Jetty Pavillion, the main building of the palace, courtyard and Anna's house.

Penang City Hall (Georgetown)

The Penang City Hall was formerly the Seat of City Council of George Town. It was built in 1903 as the Municipal Office. The building features an Edwardian Baroque Architecture Style.

The Grand Ballroom of Penang City Hall is used as the Royal Court Room in the film.

Khoo Kongsi Clan Temple (Georgetown)

The Khoo Kongsi Clan Temple is a Chinese clan house with elaborate and highly ornamented architecture, a mark of the dominant presence of the Chinese in Penang, Malaysia.

It is located in Cannon Square in the heart of the oldest part of the city of George Town, in the midst of narrow, winding lanes and quaint-­‐looking pre-­‐War house exuding a palpable old world charm.

The temple is used as a location where Tuptim, the king’s concubine, was found by Anna and when she was captured by the palace guards.

Armenian Street, Penang (Georgetown)

The Armenian Street in Georgetown, Penang was one of the famous Penang Heritage Trial. The architecture of the shop-­‐houses displays a combination of the British colonial influence, and the Baba and Nyonya style from the earlier days. Many would say that these shop-­‐houses have contributed largely to the character of Georgetown today.

Armenian Street was used as a film set to display as the hustle bustle environment of the Bangkok Streets. It is seen when Anna, Louis and her servants pass through a market street in their carriages to get to the grand palace.

Architecture (Similarities)

Filming in Malaysia as an alternative to Siam was successful due to the reasons that the architecture of Malaysia are significantly similar than those of Siam’s. This is because both Malaysia and Siam adapt vernacular architecture where shows simplicity and successive use of natural ventilation.

This can be shown to compare Anna’s house with the Summer Palace in Langkawi.

Another similarity is the religion of Buddhism. In Penang there is a high population of Buddhist people, it is also the only state of Malaysia where non-­‐bumiputeras dominate the population. Because Siam (and their king) believes in Buddhism, temple architecture from Georgetown, Penang is used as a monastery for the monks in the film.

Penang streets are busy, which could be used to convince people of the busy streets in Bangkok.

In conclusion, it is because of these similarities that the film had successfully incorporated Malaysian architecture tricking its audience to believe that they were genuine Siamese buildings.

Plot

Events

Exposition

Anna Leonowens was invited by King Mongkut to teach English to his children and wives. She travels to Siam with her son Louis

Rising Action

Lady Tuptim was brought to the King King Mongkut orders a sumptuous reception and delegates Anna to organize it.

Death of Fa-­‐Ying.

Climax

Lady Tuptim's Execution General Alak's Betrayal

Falling Action Resolution

King Mongkut escapes with his family to a hidden place Alak got blown up after having his troops fled from a false signal King Mongkut dances with Anna and Chulalongkorn kept Anna's teachings and abolished slavery under his father's vision

Buildings Armenian Street, Penang Rumah Besar Papan Summer Palace Rumah Besar Papan Khoo Kongsi Clan Temple Penang City Hall Tropical Forest Summer Palace

Anna and the King (A movie set in Siam, 1944) – Details Literacy Review Novel Reception Margaret Landon (Author) took Anna Leonowens' first-­‐person narratives from her diary and enhanced them (with fictional truths) with details about the Siam and its people, and its culture. The book has been translated into dozens of languages and inspired a number of productions such as films and plays. The New York Times called it "an inviting escape into an unfamiliar, exotic past . . . calculated to transport us instantly." Atlantic Monthly described it as "enchanting" and added, "The author wears her scholarship with grace, and the amazing story she has to tell is recounted with humor and understanding".

Novel Criticism (Historical Inconsistency)

However the novel itself had received much criticism on its historical inconsistency. This is highly due to the act of Landon and Leonowens herself making up incidents to make the story more accessible.

Both women were dedicated to the women's rights movement and thus present a distorted, prejudiced view of Mongkut and Siamese palace life. To correct the record, well-­‐known Thai intellectuals Seni Pramoj and Kukrit Pramoj wrote The King of Siam speaks in 1948.

Historical Clarification

Anna was Anglo-­‐Indian, and was raised in India, not Welsh; she had never even visited Britain before becoming a governess in the court of Siam. Also, she was the widow of a civilian clerk and hotel-­‐ keeper, not a British army officer. King Mongkut had been a Buddhist monk for 27 years before succeeding his brother as king, so his portrayal as an arrogant tyrant is highly fictionalized.

Mongkut really did write a letter to Washington offering elephants to be used as stock for breeding American elephants, but the offer was unrelated to the Civil War. His letter, accompanied by some gifts, was addressed to President Buchanan during the last month of his term, "or to whomsoever the people have elected anew as Chief ruler in place of President Buchanan’ (Excerpts from the text of the actual letter) The response, dated almost a year later, came from Lincoln, thanking the king for the gifts and good wishes but declining the elephants on the grounds that the latitude of the US made raising elephants impractical.

Anna's son Louis dies as a child in riding accident in the film, and Anna's decision to remain in Siam is prompted both by the King's sincere regret for her loss and her own maternal instincts: Prince Chulalongkorn becomes a sort of foster son for Anna. The historical Louis Leonowens did not die as a child, and in fact outlived his mother.

In the film, Anna is present at the death of King Mongkut. The historical Anna had been granted a leave of absence for health reasons in 1867 and was in England at the time of the King's death in 1868; she was not invited to resume her post by the new king.

The King of Siam Speaks (Writing)

A King of Siam Speaks is a first-­‐person narrative drawn from English translation of some of King Mongkut's public papers and private correspondence, produced in 1948 by Seni Pramoj, who had been ambassador to the United States at the outbreak of World War II and Thailand's first post-­‐war prime minister; and together with his brother, politician and scholar Kukrit Pramoj, with the King given as author, and themselves as co-­‐authors.

On June 14, 1949, Seni, with his brother in the audience, delivered a lecture in which he quotes, with humor and understanding, from the King's Acts and judicial decisions to disabuse the fiction. The brothers also sent a pre-­‐publication manuscript to American politician and diplomat Abbot Low Moffat. Moffat later drew on the manuscript for his biography entitled Mongkut the King of Siam. The Pramoj manuscript is then donated by Moffat to the Southeast Asian Collection, Asian Division, Library of Congress.

Lawsuit (1972)

The consequence of Margaret Landon’s fictionised Anna and the King of Siam had caused her to be charged with "inaccurate and mutilated portrayals" of her literary property as she had fictionised the diaries of Anna Leonowens, touching onto sensitive issues of Siam. She was sued for copyright infringement for the extraction of information regarding political warfare without proper permission from the Siamese. The lawsuit was cast but initially failed in late 1974, but after the judgment was appealed, the parties chose to settle out of court, and a settlement was reached in 1975 with which Landon was satisfied.

Film Review Movie Reception Anna and the King received mixed reviews. On Rotten Tomatoes, it holds a 51% rating, based on 98 reviews, with the consensus stating that "Beautiful cinematography can't prevent Anna and the King from being boring and overly lengthy." On a $92 million budget, the film grossed $39,263,420 domestically, but its international gross of $74,733,517 brought its worldwide gross to $113,996,937, making the film a modest financial success.

Movie Criticism

Similar to its novel counterpart, the movie was criticized for its historical inconsistency. The consequence of this issue lead to a ban, where the distribution of the movie is disallowed in Thailand.

The original Anna Leonowens, on whose memoir the story is based, seemingly exaggerated her importance in, and influence on, the Siamese court to the detriment of King Mongkut, and also Prince Chulalongkorn, son of Mongkut with claims of her contribution to his reforms.

Rotten Tomatoes critiqued that the movie had beautiful cinematography but criticized the movie being too boring and lengthy. There were also many other criticisms on the movie mainly brought upon movie critics. The more common criticisms received are those criticizing aspects of the movie such as romance, cross-­‐culture and morals.

Reviewers such as Robert Ebert and Scott Hunt talked of King Mongkut of Siam, a man with 23 wives and 42 concubines, who allows one of his women and his lover to be put to death for exchanging for his reputation as a powerful king, and yet are seen as basically a good-­‐hearted person.

They also talked of the slight romance between Anna and the King, on many occasions where the two were close near cheek to cheek or could almost be mislead into thinking they would spark a story of their own. The implied romantic aspect seems a little dubious, since Anna Leonowens was 28 when she arrived in Siam, while King Mongkut was a deeply religious man of nearly 60. There’s only one brief mention of Anna in the king’s diaries. And, far from being historical, the subplot was based on Anna Leonowens’ own fictional novel Romance of the Harem.

Killer Movies criticized the praise of King Chulalongkorn (Mongkut’s son) as the man who abolishes slavery and led Siam into the 20th century leading in democracy. Reviewers criticized the current status of Thailand being a sex-­‐centered nation where slavery to prostitution lives on as one of the main fames of Thailand which discredits the praise of Chulalongkorn to be fictionally exaggerated.

Jodie Foster (Actress)

Her role as Anna Leonowens was said to be a mismatch as it is mentioned that Foster was a good actor who is capable of acting out a love story, she was also said to be a smart actress who was able to bring intelligence into her acts. However, as Anna Leonowens, the role for Foster was to act as an intellectual woman who had to appear dumb and downright out of place at first to the people of Siam, which she had failed to do so as the impression of her throughout the movie was a constant knot to her intellect and mind, her strong will and reasons.

Personal Review

Initially watching the movie, the cinematography of the movie is complemented where beautiful scenes of Siamese architecture and landscape had succeeded in capturing positive attention worth marveling. It is surprising as well as shocking when it is discovered that the architecture viewed in the movie, is none other than Malaysian; ergo bringing forward another

complement for its successful adaptation of architectural styles. Praise could be given on the account of cultural embracement where both western and Siamese culture (also between the religions of Christianity and Buddhism) could be viewed in the movie having little, to no prejudices and discriminations. The movie features education and respect where appreciations of such values are seen as merits to the movie. Another complement of the movie would describe about how gender inequality of Siam is lifted throughout the movie gradually from the introduction up to the resolution where the king states that it is conceivable for one man to have only one wife (where in the former, he states that such things are impossible for one man’s satisfaction); a clear example on its own. Clarity is therefore appreciated.

However, the movie had a simple story and carries a concentric focus between Anna and the king. Honestly feeling that the movie had hinted on romance too often and too subtle, consequently leaving the romantic aspect of the movie on a hanging point, dangling. On another end, certain scenes of the movie had displayed overlooking the negligence of the king, painting him as a still righteous ruler even on such point. Exemplification on the case between Tuptim and Balat, both of them were executed due cause for corruption of the Siamese court.

Their execution was not called off due highly to the reason that the king wants to save his face.

The case was too easily left with (or ended) to the point where it left almost no impression at all on the negative character of the king, placing his reputation above his love for his concubine, since it is clearly stated that he loves them all as claimed by his wives. Moreover, the end figure where Prince Chulalongkorn abolishes slavery under the teachings of Anna and abiding in his father’s vision in many sense and aspect convinces the viewer that the movie is real and follows in account to history. But in disgrace, it is revealed to be false. This found, being the worst offense would simply pull all impressions down as to fantasize a reality but yet lying to convince viewers of the reality of such fantasy is in most perspective extremely disrespectful; to history, too involved suspects with their story told in a false manner, and even possibly to the viewers.

All in all, personally felt that the movie deserves a positive rating, praising it to be in overall magnificent. By closing one eye, overlooking the historical inaccuracy and inconsistency, the rating of seven out of ten would be rated personally.

Movie Controversies

Despite after many attempts to review the script, to please the Thai government; even after changes were made to try to satisfy them, the Thai government did not allow the film-­‐makers to film in Thailand. The Thai authorities did not permit the film to be distributed in Thailand with reasons to scenes that are in the movie, they described the movie as a disrespectful and historically inaccurate depiction of King Mongkut. The film ban was criticized of Tony Dabbs, who wrote an opinion piece for the Thai newspaper The Nation.

Architectural Review Architectural Reception

As described by Rotten Tomatoes with the claim that “Beautiful cinematography can't prevent Anna and the King from being boring and overly lengthy." Rotten tomatoes described the film’s cinematography to be “Beautiful”. As cinematography is about the art and science of motion picture photography, the film cinematographically includes beautiful scenes of several aspects such as natural landscapes, culture, romance and architecture. Architecture being included (in this way) henceforward was defined as beautiful indirectly.

Moving on, as complements had been previously given on the film’s success in translating Malaysian architecture into Siamese architecture, good enough to trick people into believing it as a reality. Its elaboration follows with its many buildings featured in the film; despite limitations, (as it is understood that the film was banned from filming in Thailand or even distributed due to political sensitivity) are well filmed and photographed in motion as the film director and his crew manages to substitute many of the existing buildings of Bangkok, Siam (now Thailand) by replacing them with Malaysian streets, houses and temples as a successful fall back plan. However, the only drawback of the translation would solely be upon genuineness, voicing that the architecture in the film lacks authenticity, and by forth would be seen as borrowed instead.

Substitution of Buildings

Due to the ban, most of the movie was filmed in Penang, Perak and Selangor.

First off, King Mongkut’s Grand Palace was recreated at a secret location; the interior of the palace (in parts) was filmed separately in multiple buildings. They were filmed in, Rumah Besar Papan, a Mandailing mansion in Papan, which is about ten miles away from Ipoh; on Summer Palace on Langkawi Island and Shah Alam, Selangor. In account to buildings in Siam, the combination of building spaces enacted the Grand Palace and act as a substitute to the Bangkok Grand Palace, this (actual building) however only had screen time of less than five seconds.

The’Bangkok’ street scenes were filmed on Armenian Street as a substitute, with very little set dressing to the 19th century Armenian merchant houses. The ‘Royal Court Room’ is the Grand Ballroom of Penang Town Hall on Jalan Padang Kota Lama (Esplanade Road). Also the Bangkok Harbour was filmed in Swettenham Pier, Penang Harbour.

The temple, where Tuptim is captured by palace guards was actually filmed in the Khoo Kongsi clan temple in Penang. This clan temple acts as a substitution to the actual Siamese temple in Bangkok, the Wat Phra Keow, also known as the temple of the emerald Buddha.

Original (in thailand) Bangkok Grand Palace

Substitute (in Malaysia)

Rumah Besar Papan (Perak)

Summer Palace (Perak)

Bangkok Royal Court (Inside Palace)

Bangkok Royal Temple, Wat Phra Keow

Bangkok Street Bangkok Harbour

Penang Town Hall (Penang)

Khoo Kongsi Clan Temple (Penang)

Armenian Street (Penang) Swettenham Pier (Penang)

In conclusion, although very different in design, different between reality and fiction. All things are made conceivably possible with good cinematography and well picked match making of buildings that share similar aspects or details as all factors come together. Hence impressions of Siamese architecture can be assembled even if it was brought up and filmed in Malaysia.

Anna and the King (A movie set in Siam, 1944) – Analysis Architecture to Plot Analysis Story Plot Plot Exposition Rising Action

Climax

Falling Action

Resolution

Events Anna Leonowens was invited by King Mongkut to teach English to his children and wives. She travels to Siam with her son Louis Lady Tuptim was brought to the King King Mongkut orders a sumptuous reception and delegates Anna to organize it.

Substitute Buildings

Death of Fa-­‐Ying.

Rumah Besar Papan

Lady Tuptim's Execution

Khoo Kongsi Clan Temple

General Alak's Betrayal

Penang City Hall

King Mongkut escapes with his family to a hidden place Alak got blown up after having his troops fled from a false signal King Mongkut dances with Anna and Chulalongkorn kept Anna's teachings and abolished slavery under his father's vision

Armenian Street, Penang Rumah Besar Papan Summer Palace

Actual Buildings

Bangkok Street Bangkok Grand Palace Bangkok Grand Palace Bangkok Royal Temple Bangkok Royal Court

Tropical Forest

Summer Palace

Bangkok Grand Palace

The setting for Anna and the King was in Siam (Thailand), but yet the movie was filmed in Malaysia. The substituting building was an alternative site used as the film is banned from filming in Thailand or even distributed.

Before describing how the buildings enhance the story plot, understanding of Malaysian and Thai’s history and its impact on architecture along with a comparative study would be required as a prerequisite before explaining the relevance of the buildings and their significance to the plot.

History of Siam (Thailand) up to Chulalongkorn’s Reign (Summary) In prehistory time, Thailand was influenced by Hinduism from India (during the 1st century AD) and china (during the 5th century AD) as the two early civilizations of China and India begin spreading vastly across regional areas of Asia. Thailand, Cambodia, Laos, Myanmar and many other countries were classified as Indo-­‐Chinese, residing on the central northern regions of South East Asia. Thailand then begin to civilize from then onwards, starting from the Khmer Empire on the 7th century; expanding and growing up till the 11th century, where huge migrations of Thai spreading towards north and south, dividing the kingdom into two, the north and the south. The Khmer Empire survived up until the 13th century, where it died off and was annexed.

In the 13th century several small states in Thailand in the Mekong River valley united to form a kingdom called Sukhothai. It is regarded as the first Thai kingdom. However the first Thai kingdom did not last long, and was succeeded by the kingdom of Ayuthaya where Ayuthaya annexed Sukhothat, making itself a larger kingdom in the 14th century. The Kingdom of Ayuthaya continued to grow on in the 15th century.

The first Europeans to reach Thailand were the Portuguese in 1511. They were followed by the Dutch in 1605, the English in 1612 and the French in 1662.

In 1675 a Greek called Constantine Phaulkon became an official at the court in Thailand. He permitted the French to station soldiers in Thailand. However he was removed from power in 1688 and the French were expelled. Afterwards Thailand adopted an isolationist policy. The Thais cut contact with Europe until the early 19th century.

In 1765 the Burmese invaded Ayuthaya and they captured the capital in 1767 and destroyed it.

However in 1769 a general named Phraya Taksin became king and he made a new capital at Thoburi across the river from Bangkok. He also built up an empire. He conquered much of Laos and other parts of Southeast Asia.

However King Taksin began to have delusions and he was removed in a coup in 1782. A general named Chao Phraya Chakri replaced him as king. (He is known as Rama I). He had Taksin executed. He also made Bangkok the capital.

In 1809 Rama I was succeeded by his son Rama II (1809-­‐1824). He was followed by Rama III (1824-­‐1851). During their reigns Thai culture flourished.

The next king Rama IV or Mongkut allowed the British to live in Thailand. He also allowed them to trade freely. He also signed treaties with many other western countries and he encouraged the study of Western science.

Rama V (1868-­‐1901) or Chulalongkorn abolished the custom that subjects must prostrate themselves in the king's presence. He also abolished slavery and corvee (a tax paid in labour). Rama V also reformed Thailand's government.

Influence on Thai Architecture Thai architecture is a major part of Thailand’s rich cultural legacy. It reflects both on the challenges of living in tropical climates and biomes as well as its importance historically, to the Thai people's sense of community and religious beliefs. Influenced by the architectural traditions of many of Thailand's neighbors, it has also developed significant regional variation within its vernacular and religious buildings.

Thai temple architecture, in its inception was strongly based on the influence of Hinduism and Buddhism from early AD centuries (1st to the 5th) during the Indian and Chinese occupation. The introduction of the two religions at first sparked the needed of a place of worship, temples.

As temple architecture of Thai is different than the temple architectures of China and India, the architecture is similar when based on a hybridization of the two. It is neither an Indian temple nor a Chinese temple, but one that is called an indo-­‐Chinese temple. As Thai’s main belief is Buddhism, it is often found having statues of Buddha within temple complexes.

Thai Temple Architecture Wat Phra Keow

Chinese Temple Architecture Jokhang Temple

Indian Temple Architecture Lakshmi Narayan Temple

From the pictures above, it is demonstrated that the Thai temple (Wat Phra keow) looked similar to the outcome of the Chinese (Jokhang Temple) and Indian (Lakshmi Narayan Temple) temples merged together.

When it comes to Thai (Siamese) Palaces, The architecture varies from just religious influence.

The place architecture of Thailand was actually a partial amalgamation of many western architectural designs; along with its present architecture, which is displayed mainly on its temple architecture (influences of religion).

This is because Thailand was the only country that had successfully avoided western colonization. How it had become a success was through western appeasement where Thai leaders modified Thailand, its culture, architecture and land to suit the Europeans along with a contract to allow European residents to use Thai’s utilities and land for their interest with the exception of political abuse and colonization. With such change, the Thais had adapted to the Portuguese (1511), the Dutch (1605), the English (1612), the French (1655) and the Greeks (1675).

Bangkok Grand Palace European Palaces

Thai Palace (Bangkok Grand Palace)

Features

Gate Walls and Spires

Grid Elevation Layout

Gable and Hitch Roof and Spires

Enclosed Layout and Courtyard

Columns and Statues

Portuguese Palace

Dutch Palace

English Palce

French Palace

Greek Palace

As mentioned, modification of architectural was made extensively in Thai architecture to suit the west in respect to western introduction. However, Thai Palace also has elements of Eastern influence which is embedded in the form of Chinese and Indian architecture. The architecture of these two countries was used in the early practice of temple making. Features of Chinese architecture include roofing (Gable, Hip, Gable Hip and Pyramidal), courtyard and Chinese pagodas. Features of Indian architecture include columns (Doric and Decorative) and stupas. Both Chinese and Indian architecture have stairs leading to elevated floor, which is another adopted feature of Thai architecture.

Asian Palaces

Thai Palace (Bangkok Grand Palace)

Features

Roof, Column, Courtyard and Walls

Chinese Palace

Indian Palace

Column and Stairs

Vernacular architecture is one of the main features of Thai (Siamese) houses. Contradictory to its temple architecture and palace architecture, Thai vernacular architecture is not influenced by neither Europe nor China or Indian; Thai vernacular architecture is purely incepted from its own geological adaptation.

Thai houses have one universal aspect in its traditional architecture, which is the elevation of its buildings on stilts, most commonly to around head height. The area beneath the house is consequently used for storage, crafts, lounging in the daytime, and sometimes for livestock. The houses were raised as a result of heavy flooding during certain parts of the year, and in more ancient times, predators. Thai building (houses) designs are often based on living habits circled on superstitious and religious beliefs. Many other

considerations includes such as locally available materials, climate, and agriculture having a lot to do with its unique style. Thai houses are made from a variety of woods and are often built in just a day as prefabricated wood panels are built ahead of time and put together on site by a master builder. Many houses are also built with bamboo, a material that is easily constructed and does not require professional builders. Most homes start out as a single family home and when a daughter gets married, an additional house is built on site to accommodate her new family. Although the house is built with prefab panels that are easy to rearrange there are taboos against rearranging a house. A traditional house is usually built as a cluster of physically separate rooms arranged around a large central terrace.

The terrace is the largest singular part of the home. An area in the middle of the terrace is often left open to allow the growth of a tree through the structure, providing welcome shade. The tree chosen is often flowering or scented. It is important for the Thai people to draw in their natural surroundings by placing potted plants around the terrace. The level of the floor changes as one moves from room to terrace, providing a wide variety of positions for sitting or lounging around the living areas. Thai furniture is sparse and includes a bed platform, dining table and loose cushions for sitting. Sleeping areas are set up so that the beds are aligned with the shorter end of the room (as sleeping parallel with the length is similar to lying in a coffin). The direction that the head points towards can never be the west as that is the position bodies are laid in before cremation.

In a nutshell, Thai architecture in this way is unique as it could be personally described as an architecture that adapts to the situation, which includes factors of geography, climate, availability of materials, culture and beliefs, political and economic stature and definitely universality in the international society of a country having avoided western colonization.

Geography of Malaysia

The geography of Malaysia has been fundamental in the development of the rich and varied history of this resource-­‐abundant country. At a strategic crossroads between the Eastern and Western worlds, the Malay Peninsula separates the Indian Ocean from the South China Sea. Since ancient times, merchants and foreign cultures have been attracted to this land to conduct business and trade.

Indians had a lasting influence on art and culture while the Arabs who passed through Malaysia as early as the tenth century brought Islam which first

became established on the Malay Peninsula in the 14th and 15th centuries. The Portuguese and the Dutch introduced European economic practices and methods while the British instilled the foundation of Malaysia’s political structure. This cosmopolitan influence profoundly affected Malaysia’s history and culture, and the cartography of this region in past centuries reflected the need and development of accurate maps.

During British occupation, Chinese and Indians were brought into Malaysia as labour forces and are now today make up into Malaysia’s three biggest ethnic group: Malay, Chinese and Indian.

History of Malaysia up to today (Summary) The earliest settlers of the Malay Peninsula may have come overland from southern China thousands of years ago. These were the ancestors of the Orang Asli (Indigenous People).

About 1400 a group of Malay-­‐speaking migrants came to the Malay Peninsula from Sumatra (now part of Indonesia) and established a trading kingdom called Malacca. The Europeans arrived in Malaysia during the 1500’s and in 1511 Malacca was captured by the Portuguese lured by the very lucrative spice trade. During the 15th and the early 16th centuries Malacca was as a major player in the spice trade, serving as a gateway between the Spice Islands and the high-­‐paying Eurasian markets.

In 1641 the Dutch eventually defeated the Portuguese and when they captured Malacca it was no longer an important trading center. Malacca was traded to the British by the Dutch for Bencoolen, Sumatra and in 1824 the Dutch signed a treaty which surrendered their possessions on the Malay Peninsula to the British.

In 1786 the British acquired Penang Island and established a settlement called George Town. In 1819 Britain established a trading post on Singapore Island. To protect its shipping lanes between China and India, Britain eventually acquired more control over the region. It would take until the early 1900’s until Britain established total control over Malaysia.

On the island of Borneo the sultan of Brunei ceded the southern part of his territory in 1841 to James Brooke, a wealthy English adventurer who had aided the sultan in repressing a local rebellion.

This territory eventually became present-­‐day Sarawak. Brooke and his descendants ruled Sarawak until the 1940’s.

In 1881, North Borneo (present-­‐day Sabah) came under the control of the British North Borneo Company, a privately held trading company. The British declared North Borneo and Sarawak to be British protectorates in 1888 and by 1914 Britain had either direct or indirect colonial control over all the lands that now make up Malaysia, this they called British Malaya.

In 1941 the Japanese invasion and subsequent occupation of Malaysia from 1942 to 1945 ended British domination in Malaysia.

In 1957 an independent, multi-­‐racial Federation of Malaya was established, forming Malaya’s independents day on August 31st 1957; and in 1963, the British territories in North Borneo and

Singapore were granted independence where Malaysia formally came into being on September 16th 1963, consisting of Malaya, Sabah, Sarawak and Singapore.

Singapore later withdrew from Malaysia and officially became the Republic of Singapore (independent) on August 9th 1965.

Influence on Malaysian Architecture Malaysian architecture is a part of Malayan’s cultural legacy where its early vernacular designs marked the development of the indigenous people of Malaya. Historically, many of its architecture was influenced by colonization of the Portuguese, the Dutch and the English; as the nations built buildings and architectures to mark Malaya as one of their own, displaying their style. However towards modernity, Malaysian architecture had evolved and in many occasions have two categories: either a modern movement or a movement towards cultural preservation.

Architecture in Malacca before European colonization uses vernacular architecture. Like Thai vernacular houses, all vernacular houses in Malacca have an elevated base atop of slits. These vernacular houses are modular, mobile (when needed) and is often made from materials available, which is often thatch, timber and bamboo. Long vernacular houses are called Longhouses. Since vernacular houses are mobile, the style spread up to almost whole of Malaya, including far northern states of Perak, Kedah, Penang and Perlis. One example of vernacular design built in Perak would be the Summer Palace in Langkawi.

The architecture of Malacca reflects the 275 years of Portuguese and Dutch presence; and along with Penang, reflect the 171 years of British presence on the land, coalescing with local, Chinese, Indian, Islamic and other elements to create a unique and distinctive brand of architecture. Malacca and Penang are architectural gems of Malaysia and Southeast Asia.

Penang has one of the largest collections of pre-­‐war buildings in Southeast Asia. This is for the most part due to the Rent Control Act which froze house rental prices for decades, making redevelopment unprofitable. The government in recent years has allocated more funding to finance the restoration of a number of derelict heritage buildings, most notably Suffolk House, Penang City Hall and historic buildings in the old commercial district.

Colonial style was one of the main styles of architecture during British occupation. It started from Francis Light, who built the Fort Cornwallis as a defensive measure when he first gained possession of Penang Island. Ever from there colonial style had been carried forth till independents day. Examples of this style during colonial period are the Suffolk House (Anglo-­‐Indian Garden House Style) and Penang City Hall (Anglo-­‐Indian Town Hall Style).

Chinese immigrants brought with them architecture from their ancestral land (China) as can be seen in the many Chinese temples and clan houses.

Examples that stand out include the Cheong Fatt Tze Mansion (also known as the Blue Mansion) and the Kuan Yin Temple, the Khoo Kongsi, and the intricate clan house of the influential Khoo clan.

Adaptation

In some cases, the sites used in Malaysia are not fully compatible with Thai’s architecture.

However with a few use of CGI and movie scene switches, the producers and directors of Anna and the King are able to make us believe so.

For example between Khoo Kongsi Clan Temple and the Bangkok Royal Temple (Wat Phra Keow), it is clearly seen as completely different temples. With the former being Chinese and the latter being Indo-­‐Chinese. However, they pulled it off with statues of Buddha, which was another feature of Thai temples, accomplished by scene switching and CGI software.

Another example would be the Bangkok Grand Palace, being set up in an undisclosed location.

Its interior however was made up by an amalgamation of multiple Malaysian buildings such as the Summer Palace (Langkawi, Perak) and Rumah Papan Besar (Papan, Perak), merged together into one big palace with CGI effects.

Similar aspects of the sites were parts of vernacular architecture of Malaysia and Thailand, others were the comparison between the colonial style of Malaysia and the mimicry of European architecture by the Thais. Nonetheless, having created its most intended bluff.

Plot Enhancement

In the beginning, Anna was shown traveling by boat and reaching Bangkok Harbour and journeys towards Bangkok Grand Palace by passing by Bangkok Street. As the exposition of the film, the early introduction of Siam’s busy life in Bangkok, the crowded hectic society immediately strings a line of ideas in the viewers mind. The idea of Siam being less developed, and busier as differed to western society.

As Anna paths through the people, sense of stress is shown on her expression as the busy and crowded areas of Bangkok is somewhat new, and requires effort in adjusting; as so goes with the viewers of the film.

Of course there has to be a far sight of the Bangkok Royal Palace, to marvel the viewers as believed so. Leading the viewers into a new perspective of Siam, to show off Siam’s architecture with the real (illegally shot) Bangkok Royal Palace.

When inside the royal palace, Anna was denied a house outside royal palace ground. Her decision shows her integrity that she isn’t just a guest but a teacher of high position. The royal palace in the scene, although beautiful and stunning, was ironically rejected in this way; philosophically relating to the fact that the king although with high status but yet (at that point) unreliable.

Introduction to the king in the Bangkok Royal Court showed the crowdedness of the initial streets showing sense of order yet disorder. Order with protocol but yet disorder in management. Seemingly foreseen with the building’s grandness overlooked by small matters of the people eliminating the grandeur of the space. The same space however enhanced the plot when there were little people.

When a complaint was voiced against Anna, by that scene the king’s Authority is shown in greater in proportion to the grandness of the space.

The scene itself was also a contradiction to the king’s nature as to overlook sorting Anna’s issue (crowded space) with the housing policy but yet attended to the disputes of a local Siamese woman (Desolate space). The architecture was ambiguous and was parallel to the king’s line of thoughts.

Getting to know the king’s wives, concubines and children introduces the better side, the obverse side of the palace where the architecture itself presents a deep breath.

Anna in the scene feels enlightened getting to know the king’s big family. Although crowded, the architecture eases the viewers mind with scenes of nature and with bright coloured materials as the sense of claustrophobia was indeed made absent in the scene; parallel to Anna being happy to get to know her (potential) students.

In Bangkok Street, Lady Tuptim was introduced. The crowdedness of the street showed the viewers of a separation, toning the mood to a disputing though of sadness. Tuptim was later brought into the palace and was shown an introduction to the king’s grand palace but yet shares a confined room with his other concubines (another crowding space) showing how things are not settled.

King Mongkut orders a sumptuous reception and delegates Anna to organize it. During the reception, the architecture of the Bangkok Grand Palace displayed its most western feature. Viewers will immediately sense familiarity as Anna herself would organize it so. However, at that point with the setting it is near impossible to call it an Asian setting anymore. This shows the architecture of Siam specifically.

In reference to the scene, the grandness of the space aided the plot of a romantic dance between Anna and the Mongkut as personally felt was a great use of candles in the architecture that provided the yellow romantic lighting that made such of an atmosphere. Other factors are the partial reflective floor (believed to be unpaved concrete) that created a mirror effect of the lighting increasing the grandness of the space once more.

The footage was designed to have Anna and Mongkut dance away, isolating themselves from the crowd.

Moving towards the climax of the ever clustered movie plot, Fa-­‐Ying dies in Mongkut’s bedroom, the scene to convey death as ironic as seemed in a very comfortable bedroom was confusing.

Personally felt inclusion of nature such as flowers or skies would help aid the plot, as Anna’s tears are just not enough. Lady tuptim escaped disguised as a monk was caught in the Bangkok Royal Temple. The site was Penang’s khoo Kongsi Clan Temple. With the site’s many carvings and ornaments; long corridors between doorways and long columns was the best site for the plot. In escape to a safe place, was instead turned into a nightmare. How was it made so, was the darkness as temples were never brightly lit in nature. The corridor gave claustrophobia and the many carvings carried with it huge impact of chaos instead of order.

The columns personally felt like jail bar mimicry.

Tuptim was caught; she was executed on the same site the following day. Climaxing in General Alak’s betrayal where he kills King Chaofa, Mongkut’s brother in an abandonned site. The site was abandonned and was only lit by campfires. The flickering lights within the abandoned building stimulates threatening atmosphere. Where later Chaofa suspected Alak’s behavior, attempted escape, broke his leg, and shot in the head by Alak. Personally would mention of the abandonned building relating to the abandonned loyalty.

King Mongkut knows of Alak’s intention and hence escapes with his family to a safe monastery.

This place in personal opinion is a very direct feel comfort space with a giant buddha statue with many a scenes of nature and landscapes. The statue seemed somewhat similar to the statue of liberty as to signify freedom or escape haven. The scene followed by high tension meeting, where Mongkut faces Alak’s great army. The site was on a small bridge, where Mongkut and Alak proceeds with care and

caution. The viewers feel the same way too, along with the current situation, tension would be the only sense, the site was another success in the aspect.

The resolution of the film circles around Anna and Mongkut as they danced once more (possibly their last) atop on the European looking feature of the Bangkok Grand Palace. Same lighting but now with more nature and less space to dance. The isolation and the quiet ambience makes it ever more romantic once more and the vast views of nature emits a settling charisma. Ending the film in a positive narration.

Modified Elements Scenes

Modified Elements

King Mongkut making a public decree

Anna visits her students

King Mongkut offering a dance with Anna

Lady Tuptim’s escape

Dim Lighting, Blurred View, Desolate with scene Lacking Clarity

View play of nature, Brightly Lit Space.

As Anna visits her students, she feels happy where the genius loci of the space strikes a peaceful mark on her subconscious mind, making her feel at ease

Brightly Lit Space, Bright and Warm Colors, Clear View, and Strong visual contrast

King Mongkut settling local dispute

Effects In the scene King Mongkut was displayed as a powerful king. The elements shape the space giving it a grand, prosperous entry of splendor As contrast to the above, the same space is modified to look hazy as it indicates conflict, creating an atmosphere of unease to the happening dispute

The elements come together to induce a scene of romance, enhanced greatly with candle light. The Smooth Semi-­‐ partially reflective flooring Reflective Flooring, further enhances the candle Candle Lighting and effect. Spacious layout result Spacious Layout in grandeur.

Dark and Dimly Lit The dark and dimly lit space Space, Confined causes the ornaments on areas within the the temple to looks scary.

Building and Moreover, the confined area Columns. increases the tension of the plot. Where Tuptim escapes Ornaments

Conclusion

Anna and the King is a movie film where its storyline was taken from the book Anna and the King of Siam based on a fictionised diary of Anna Leonowens. The story was politically inaccurate, causing the Thais to be displeased. The film however was complemented for its beautiful cinematography but yet criticised for its lengthyness. Architecture of the film was set in Siam but was filmed in Malaysia. With the use of technology and scene arranging, the architecture of the film was made convincing to be Siamese. The plot of the film was one of clustered events between Anna’s relationship with the Mongkut and Siam. Architecture of the film enhanced the plot extensively with aid of cinematography. The movie was personally collected as a great success in production.

Reference: Aasen C. (1998) Architecture of Siam: A Cultural History Interpretation. New York, NY. Oxford University Press.

Chitranukroh J., & Buranakarn Assoc. Prof. Dr. V. Sentiment in Traditional Thai Architecture. The religious Buildings: traditional Thai temples, pp 120 – 126.

Dumarcay J. (2003) Architecture and its Models in South-­‐East Asia. Thailand. Orchid Press.

Ebert R. RoseEba.com Reviews: ANNA AND http://www.rogerebert.com/reviews/anna-­‐and-­‐the-­‐king-­‐1999 Glines.

J. PBase.com.

Thailand Bangkok http://www.pbase.com/johnglines/grand_palace

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KillerMovies.Movies that matter! Anna and the http://www.killermovies.com/a/annaandtheking/reviews/

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KING.

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LeChua.

(March 26th, 2010) Windows of Penang. http://www.lechuaphotography.com/2010/03/26/windows-­‐of-­‐penang/

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Margaret. L. (1944). ANNA AND THE KING. New York, NY. The John Day Co. Retrieved from: http://www.amazon.com/Anna-­‐King-­‐Siam-­‐Margaret-­‐Landon/dp/0060954884 The Worldwide Guide to Movie Location: Anna and the King film locations. Retrieved from: http://www.movie-­‐locations.com/movies/a/annaking.html#.UmSZkhYWyfS Stickyboy (April 17th, 2009) Abandoned Anna and the King Movie Set. Retrieved from: http://www.stickboydaily.com/movies/abandoned-­‐anna-­‐the-­‐king-­‐movie-­‐set/ Sthapitanonda, N., & Mertens B. (2012). Architecture of THAILAND: A guide to traditional and contemporary forms. Singapore, SG: Editions Didier Millet, edm. (Original work published 2005) Waterson R. (1998) The Architecture of South-­‐East Asia through Travellers’ Eyes. United States, US: Oxford University Press