King Kong

By: debbie lynn elias

Once upon a time there was a 9 year old boy with an amazing imagination. And on one fine day, he saw a movie that would impact him forever – “King Kong.” Directed by Merion C. Cooper and Ernest Shoedsack, shot in black and white and released by Universal Studios in 1933, “King Kong” was such a success on its release that it saved the studio from going under. Years later, when this little boy saw the mighty Kong, he was so taken with the movie and the concept of movie making that he fashioned himself his own cardboard King Kong model, used his mother’s fur-collar coat, cutting the collar into fine threads and gluing strands of fur one by one on his model, and then grabbed a movie camera to make his own version of “King Kong.” Okay, so that version wasn’t a huge commercial success beyond his own living room, but fast forward to the present. What that 1933 “King Kong” did do was create a love and desire in a young Peter Jackson that inspired him to become one of the consummate filmmakers of our time. Having helmed one of the true epics in movie history, “The Lord of the Rings” trilogy, Jackson now had the means to do the film he had always held close to his heart – a big screen version of “King Kong.” And let me tell you right now – this is no remake or reinvention of a classic. This film is a loving re-creation of a timeless tale. Clearly a labor of love, the memories held all these years by that 9 year old leap from the screen with every shot, every effect, every nuance, every word, every creature creation, every beat of Kong’s heart. True to the original film and story but with the added polish that is offered by today’s technology, Peter Jackson’s “King Kong” is a visual masterpiece.

The time is 1933. America faces the Great Depression. Ann Darrow is a struggling vaudeville actress. Without income and without wanting to lower herself to performing burlesque, Ann has little in the way of prospects – that is until she steals an apple from a street vendor and finds herself rescued by Carl Denham. A man with a slightly nutso streak in him, Denham can relate to Ann’s little theft – especially since he just heisted his unfinished adventure-travelogue from the studio after execs threatened to pull the plug and funds. (Some things never change!) Rushing to get his cast and crew aboard a Singapore bound steamer, Denham has another little problem. His star has pulled out of the picture. Second problem – she’s a size 4 and all costumes have been made. Luckily for him he met Ann. Not only is she desperate for work, she’s a size 4! Convincing her to sign on to the project is a bit tougher though (like she has many options!), that is until she finds out that up and coming playwright Jack Driscoll has written the screenplay and is going along for the ride. With all on board, the S.S. Venture sets sail from New York Harbor, but what no one realizes is that Denahm doesn’t plan on going to Singapore. Always with an eye on his ego, Denham’s true plan is to head for Skull Island and a mythical beast of mighty proportion.

With a slow build to the arrival on Skull Island, Jackson uses the time wisely to establish time, place, motive and characters. But the fun really starts once man steps into this lost world. Paying great homage to the original film but with a CGI twist, we are met with prehistoric dinosaurs, carnivorous sea slugs, a lost race of “man” that are more savage than anything ever depicted in a National Geographic, a brontosaurus stampede and tyrannosaurus triplets, and of course, King Kong – all of which are used to establish the love story between Kong and Ann. Notable is Jackson’s use of the “spider-pit” sequence which was cut from the original but given new life here with some of the creepiest and crawliest arachnids ever seen.

Despite the grandeur of the special effects, it is the story of Kong and Ann that still touches the heart and is the essence of the movie. Be it Ann using her song and dance talents to “sooth the savage breast” so as not to be eaten or crushed, or waggling a finger at a tantrum throwing Kong, or Kong tearing up trees, tossing boulders and beating his chest in a huff over his frustration with Ann (be it man or ape, the male species just don’t get us females!) the story of true life is timeless and endearing. And let me tell you, Kong is more a gentleman, more gallant and more loveable than almost any man on the planet. But leave it to the call of fame and fortune and one’s man ego though to spoil everything and here that falls to Carl Denham. Seeing gold at the end of the rainbow, Denham has Kong and his sweetie Broadway bound with what we all know have terrifying results.

Although the human performances are not as compelling as that of Kong, they are nevertheless not to be overlooked – and especially when it comes to Jack Black. With his portrayal of Carl Denham, Black can finally be described as a movie star. Stepping out of type, yet so in type, Black’s Denham is an over-the-top egomaniac that only adds to the underlying social commentary of the story. Don’t be surprised to hear Black’s name called out on January 31, 2006 for a Best Supporting Actor nomination. Oscar winner Adrien Brody takes on the role of Jack Driscoll. With a performance that is weak, wimpy and weepy, one can easily see why Ann would prefer to be with a great protectorate like Kong. And as for Ann Darrow, this is one of the finest examples of perfect casting I have seen in many a day. Naomi Watts is enchanting, idyllic and golden. Clearly born to play in period pieces, her range of emotion and adaptability in either a green jungle or concrete one is exciting to watch. But it is her heart that radiates with her performance here. Simply magical.

But the real star here is not the human actors. Nope. That honor goes to the Mighty Kong himself. Great pains were taken to develop Kong with such exacting detail so as to create a great ape that has weathered the ages but who really is an old softie inside. Complete with battle scars, a droopy eye from a prior battle and even a broken jaw (not to mention some pretty bad cavities), Kong’s humanness is both touching and enlightening. Much of the success of Kong goes to Andy Serkis, himself filmed and then digitized with Kong-like fur, who provides the fluidity and personality that create the most layered and emotionally fulfilling character of the film. From the blink of an eye to a raucous laugh to a gentle touch of his finger to a Darwinian ferocity, it is Serkis’ work that brings believability to the forefront. For the first time in Kong history, we see Kong moving on all fours – leaping, jumping, running. It is Kong’s actions that set the pace for the film once on Skull Island and Serkis is the one behind it.

And of course, what about those CGI guys? Calling on a good portion of his team from LOTR, they all outdo themselves here – and never more so than a pivotal “battle” sequence involving Kong trying to save Ann, while suspended over a gorge battling the Tyrannasaurus Three and falling from tree to tree, threatening to plummet all the way down before our very eyes. Mesmerizing. Dizzying. Heart-stopping. But just when you think you’ve seen it all, they break out the climactic ending with airplanes, Kong Kong and the Empire State Building! Whew!

From set design to costuming of 1933 Manhattan to the imaginative artisans responsible for Skull Island, there is not a deficiency anywhere in this film. Even Jackson and his co-writers, Fran Walsh and Phillipa Boyens, give the story a social conscience without becoming preachy or detracting from the original tale or the love at its very core.

Under the guiding and loving hand of Peter Jackson, “King Kong” proves to be mightier than any that have gone before and surely any that will come after. From start to finish, this is an extravaganza, a classic and a love story that you will long hold in the palm of your hand as Kong holds us in his.

Ann Darrow: Naomi Watts Carl Denham: Jack Black Jack Driscoll: Adrien Brody

Directed by Peter Jackson.

Written by Peter Jackson, Fran Walsh and Phillipa Boyens.

A Universal Pictures release. Rated PG-13. (187 min)