KING KONG
New Zealand/US, 2005, 188 minutes, Colour.
Naomi Watts, Jack Black, Adrian Brodie, Andy Serkis, Jamie Bell, Kyle Chandler, Lobo Chan, Thomas Kretschmann, Evan Parke, Colin Hanks.
Directed by Peter Jackson.
Peter Jackson has done it again. Of course, it is not Lord of the Rings with its extraordinary sweep and vision, but King Kong is a reverent re-make of the 1933 classic – if 188 minutes, colour, continuous excitement, cliffhanger after cliffhanger, spectacular stunts, extraordinary sets, a wonderful use of cinema technology (all done in New Zealand) could be simply called ‘reverent’. It is really a very entertaining homage.
Jackson has said that while the film is fantasy he wanted to anchor it in a sense of realism. While this could not happen, it might have happened!
The story is familiar to most moviegoers (and Jackson saw it on TV when he was twelve, was so passionately moved that he decided to become a film-maker and got his mother to give him props to make his own version). This version has a wonderful New York opening giving us powerful glimpses of the Depression and its effect, giving a context to the adventure which is to follow.
The main characters are all desperate in their own ways. Naomi Watts is the new Ann Darrow (and gets a chance to scream even more than her famous predecessor, Fay Wray), a down-and-own vaudeville entertainer who is offered the chance to star in an adventure film by quick-thinking conman movie director, Carl Denham, played by Jack Black. Trapped on board the ship which will take them to the unchartered Skull Island is playwright, Jack Driscoll (Adrien Brody). (In the original Driscoll was a crew member rather than a writer.)
The three principal performers are very good. Naomi Watts is just right as the charming but feisty heroine who is able to stand her ground with Kong, charm him and become his champion. Jack Black utilises his cheeky screen personal to fine effect but has to give it more depth than usual. Adrien Brody moves from meek writer to courageous hero.
And he has a lot to be courageous about. Skull Island turns out to be peopled by a fearsome tribe. They are right out of those Tarzan type of tale so popular in the past, only more so. The island also turns out to be another Jurassic Park with more dinosaurs, pterodactyls, giant bats, fearful scorpions and gorging leeches than any other film. And more breathtaking battles (and that’s just the audience being breathless let alone the on-screen struggles) than ever before. They are spectacular, edge-of-the-seat feats that also make you wonder how ever they did it, so credible it all looks. There are so many cliffhangers (literally) that keep us in constant amazement.
Andy Serkis, who made Gollum so memorable, gave his expressions to Kong and was always present so that Naomi Watts could act with him. The scene where she performs her stage routines for Kong and he responds by playing with her makes the bonds between Ann and Kong quite poignant.
There are explicit references to Beauty and the Beast, as well as Conrad’s Heart of Darkness.
We remember it all culminates with Kong on display in New York City and a pursuit which culminates on top of the newly built Empire State Building. And this climax is breathtaking too. And dizzy-making as our heroine climbs to the top to be with Kong. In fact, so much of the action could make you experience vertigo in your comfortable seat.
Maybe at 188 minutes it is a bit long. But, never mind. If you enjoy this kind of film, you will be glad that Peter Jackson is probably giving us his full director’s cut on the big screen rather than keeping it for the DVD.
1.The epic scale of the film? Popularity and acclaim? The work of Peter Jackson, the New Zealand achievement?
2.The status of the original film, as an icon, as a classic? The 1930s-style plot – echoes of Tarzan and other adventures? The famous images – of Kong himself, of King Kong atop the Empire State Building? The tribute to Fay Wray – and her influence as the heroine who tamed the beast?
3.The return to the original story and time? The possibility in the 30s of geographical discoveries? The atmosphere of the Depression? Early sound film-making? The world of show business and entrepreneurs at the time? The American love for the dollar?
4.The US ethos: the Depression, the movies, capitalism, the US and its sense of superiority, conquering everyone? Animals and zoos? The capturing and exploitation of wild animals? Sensationalism and circus mentality? The use of the gun, the shoot to kill?
5.The locations, creating the US of the 30s? Locations at sea? Skull Island? The atmosphere of forest and jungle? The musical score and its atmosphere? The insertion of songs of the period – especially concerning the Depression?
6.The opening, the collage of images of the Depression, New York City? The return to New York at the end? The world of affluent society, the air force, the police? The Depression atmosphere as a context for the plot and the characters?
7.Ann and her performance in the vaudeville, partnership with Harry, the staging of the routines? The dressing rooms, the girls, everybody hungry? Friendship with Harry, his sneezes – and going to have a meal with him? The closing of the theatre? Her pursuing the entrepreneur, her admiration for Jack Driscoll’s plays, his fobbing her off, giving her the ticket to go to the burlesque, the girls going in, her decision not to go in? Her being pursued by Carl? The meal, offended by his seeming advances? Her sadness, her wanting to make people laugh? Her being caught up in Carl’s story? The plays of Driscoll and his imagination? Her being hooked by Carl?
8.The introduction to Carl, watching the film footage, the negative reaction of the producers, the parody of the cigar-smoking producers and their lack of sensitivity and sensibility? Carl arguing with them? Their wanting the film back? His continually being advised by the cautious Preston? Going to the ship? His meeting with Ann, his meal and explaining things to her, his gauche actions? On board, the discussions with Jack, keeping him on board, tearing up the cheques? Bribing the captain? Getting the actor on board?
9.The captain, his background, hard, the capturing of animals, exploitation, the hold full of chloroform? His putting Jack Driscoll down in the cages, and Jack working in these conditions? The members of the crew, their relationship with the captain, the voyage? His wanting to go to Rangoon? The decision to go to Skull Island?
10.Jimmy, the young boy and his background, his reading Joseph Conrad, his friendship with Hayes, Hayes always protecting him, Choy and his friendship with Lumpy? The kitchen? The meals? The other members of the crew and their interactions?
11.Jack Driscoll, the background of his plays, writing the film script, fifteen pages, the cheque, his being trapped on board? Ann and her gaffe about her admiration? And her apology? The bond with Ann, his working in the cage area, falling in love with Ann?
12.Sailing to Skull Island, their being drawn there, partly wrecked, the dangers of the reefs, the appearance of the island? The wild child and Jack and Carl trying to give the child chocolate, the violent reaction? The picturing of the tribespeople, on drugs, religious background, fanaticism, their pursuit of the expedition? Ann and her being taken by the tribe? Jack and his not wanting to leave her, the captain and his decisions?
13.The ritual of the tribe offering Ann as sacrifice, the elaborate temple, the worship? Kong himself and his appearance? Ann and her screaming – in the tradition of Fay Wray? Her being taken, Kong going into the heights of the jungle, seeing the bones of the other women who had been offered in sacrifice? Ann and the bumpy ride, her being calm, standing and confronting Kong? Her performing her vaudeville act? Playing with Kong, taming him? The credibility of their forming bonds of affection?
14.The expedition back to the island, Carl having seen Kong, pleading with Jack, Jack wanting to stay? Carl and the crew taking the camera and filming? Preston and his caution?
15.The captain, the crew, the guns, firing at the tribe, scattering them?
16.Skull Island and its prehistoric park, the spectacle, the dinosaurs, the chase, the physical impact of the stampede? The other creatures on the island, the pterodactyls, the other monsters? The giant scorpions, the cockroaches, the spiders, the leeches? The many fights with these creatures – the technological skill in presenting these, creating breathless excitement for the audience? The members of the crew and their deaths – especially Lumpy and the leeches?
17.The number of cliffhangers, the literal cliffs, the dangers, the bridges? Ann and her falling – and Kong catching her? The echoes of the Tarzan films and swinging through the jungle?
18.Kong and his being pursued, fighting with the creatures, defending Ann?
19.The disappearance of the camera, the ruining of the film? Carl’s plan to lure Kong down to the boat? The role of the actor, his performance, his fears – returning and trying to be the film-like hero? Jack and his wanting to rescue Ann, his heroics and climbing the cliff? Kong being captured?
20.The return to New York, Carl’s triumph, the elaborate theatre, the crowds? Carl’s moneymaking attitude, the producers and their arriving and praising Carl? The theatre, the spectacle, Kong on-stage? The intercutting with Jack and his watching his play and listening to his dialogue echoing his relationship with Ann? Ann at the theatre and her performing in the chorus line, looking in the mirror, coming to find Kong?
21.Jack, his play, leaving, going in the taxi? The pursuit of Kong – and his climbing up the Empire State Building?
22.Ann, in the chorus, her sadness, the scene in the street and her meeting with Kong, going up in the elevator, climbing to the top to be with Kong?
23.Audience sympathy with Kong, the pathos of his being in the theatre, his reaction to the actress playing Ann’s role, breaking free, the people frightened, fleeing into the streets? The scenes of the destruction in New York City? The police? Kong and the Empire State Building? The planes and their attack?
24.The picture of Kong atop the building, the significance of the Empire State Building at the time, the firing on him, his reaching out for the planes, his being wounded? His trying to save Ann? His death, his fall?
25.The end, Carl’s comment about beauty taming the beast? The overtones of King Kong’s creation of myth in the 20th century? The 21st century? The overtones of the Beauty and the Beast theme, the quoting of Joseph Conrad’s Heart of Darkness? An exotic – pre-globalised world? A focus on American capitalism and exploitation? An appeal to sentiment and decency?
