Hello Young Lovers, Whoever You Are

Deborah Kerr’s portrayal of the English widow Anna Leonowens in the 1951 film of the Rodgers and Hammerstein hit, The King and I, is a great depiction of an interesting woman and the play is an enduring examination of the mysterious and ambiguous attraction between a man and a woman of divergent cultures and races. Anna is a widow with a young son who comes to the magnificent Siamese court, where she has been hired as a tutor to the king’s many wives and children. She arrives in hoop skirts, dignified and yet not aloof, with a combination of British refinement and maternal affection for her new students. The King, immortalized by Yul Brynner, is a charming tyrant.
With the death of her husband, Anna’s life has taken a difficult turn. She exudes no bitterness. She is the antithesis of many contemporary female roles, such as the character April Wheeler in the vile 2007 movie Revolutionary Road. April has everything – beauty, two young children, an attentive husband, a roomy house in the suburbs – and yet she kills herself because her husband declines to move to Paris.
Anna and her son are essentially alone in a foreign land and yet in one scene, she gazes at a young couple and, in them, is heartened to find the counterpart of her past:
When I think of Tom.
I think of a night,
When the earth smelled of summer
And the sky was streaked with white,
The soft mist of England
Was sleeping on a hill.
I remember this,
And I always will…
There are new lovers now
On the same silent hill,
Looking on the same blue sea.
And I know Tom and I are a part of them all —
And they’re all a part of Tom and me.
Hello young lovers, whoever you are,
I hope your troubles are few.
All my good wishes go with you tonight,
I’ve been in love like you.

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