If 1999 is the year of new filmmaking, consider Anna and the King proof that the old formula still works. The movie is an epic of epic proportions in that tradition of masterpieces like The Last Emperor, Out of Africa and Gone with the Wind.

      Based on the renowned musical, The King and I, Anna and the King is the tale of a woman, Anna Leonowens (Jodie Foster), who does the unthinkable of a woman in the mid-1800's: she takes her son halfway across the world to Siam where she becomes a school teacher. Even more outrageous is her speaking directly to and refusing to bow to the King of Siam (Chow Yun-Fat), something no lady has ever done before.

      Anna is accepted by the King who finds wisdom in her practices and privately considers her his equal. The class she has come to teach is not one of peasants, nor even rich, but rather the 58 royal offspring plus her own son. The movie is a tale of a woman who dares to do the unthinkable time and again, how people view her, how the King views her and how her new home of Siam is facing political tasks equally as impossible as the thought of a woman surviving in the King's court.

      A movie of such grandness must have an equally magnificent appearance. Shot entirely in Malaysia, director of photography Caleb Deschanel captures breathtaking scenery that makes the film a near-lock for the Best Cinematography award. Director Andy Tennant matches the incredible imagery with numerous well-choreographed extras and a Kubrickian attention to details that creates a flawless appearance. It is big screen movies like this that will always give Hollywood an edge over independent works.

      For Jodie Foster this is her finest performance since 1991's The Silence of the Lambs and she owes many thanks to a co-star who is one of the year's best actors in his breakthrough performance. Chow Yun-Fat has come a long way from his days being advertised as "International Action Star." The unforgettable scenes in the King's court wouldn't be as rich without an excellent King nor as intriguing minus a witty teacher. The extras who play the King's children are convincing while still maintaining a cute "awe" quality that sets the tone for a film sprinkled with a delightfully innocent humor.

      For two and half-hours, Anna and the King completely engages its audience. The film isn't long; it just takes its time. Because the movie takes its time, the actors are able to play their roles to a level of completeness; sweeping camera shots and a strong background score can captivate the audience without being prematurely cut off and the movie is able to establish itself as the last great epic of the 20th Century, a fitting title for a movie made by 20th Century Fox.

Mac VerStandig, 1999