When Juliet and The King, an animated film, blends a traditional Disney-style fairy tale with 19th-century Iran as its backdrop, the result is a compelling examination of cultural contrast. Set in the latter half of that century, this story offers writer-director Ashkan Rahgozar’s interpretation of how Persian society once viewed the world. While times have certainly evolved, the themes explored remain relevant and thought-provoking.
At the heart of this tale is Juliet (credited as Ghazal Shakeri according to the IMDB; English actress unknown), a young performer who captures the heart of Naser al-Din Shah (Behzad Omrani). He’s a well-traveled, art-appreciating ruler. After attending to royal duties by day, he frequents the theater at night. It’s during one such outing that he meets Juliet and becomes smitten. He soon persuades her to bring their production of Romeo and Juliet to Tehran. However, the replacement of some roles with local talent might mean that not everyone in the court understands the message of Shakespeare’s tragic romance.
As Juliet explores this foreign land, the film cleverly shifts focus to her experience. The nation’s deep-rooted gender roles present obstacles—not just socially, but professionally. Rather than being deterred, Juliet views the Shah’s invitation as a chance to elevate her career, even as she navigates a society that often confines women to the margins.
Visually, this film is a treat. Its style evokes the classic charm of Disney’s Lady and the Tramp and the emotional nuance of Japan’s World Masterpiece Theater anime. If I had a pause button in the theater, I’d use it often just to soak in the meticulous craftsmanship. The show brilliantly contrasts the opulent Persian royal court with the subdued nighttime hues of France, highlighting the stark differences between the two worlds.
The narrative’s focus on culture clash naturally invites comparisons to The King and I. Like Anna, Juliet is strong-willed and independent, refusing to be swept up by courtly traditions. There’s even a familiar tension with the Shah’s harem and jealous court ladies. That parallel might lead viewers to expect a similar resolution—but Rahgozar has other ideas.
Rather than retreading old ground, Juliet and the King leans into humor and irony. Misunderstandings about Shakespeare’s play spiral into farce, transforming the film into a witty, satirical parable. It doesn’t aim to dissect cultural divisions with scholarly precision; instead, it playfully pokes fun at them.
And as for whether this ruler gets the girl—well, I won’t spoil that. This film is not a look at Naser al-Din Shah’s life. It’s a fictional, often whimsical tale. The most delightful surprise? The cats. They’re everywhere, quietly observing the action like silent observers. Thankfully, they don’t steal the show—they just add a charming layer of warmth and humour.
4 Stars out of 5
Juliet and the King Movie Trailer
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