Considered
to be one of the greatest movie monsters of all time, King Kong has enjoyed
many cinematic incarnations, most recently Peter Jackson’s lavish love letter
to the 1933 classic. There is something inherently and powerfully mythic about
Kong that inspires filmmakers to revisit the monster time and time again but
none have managed to best the original despite innovations in special effects
technology. Why is that? At its heart, King Kong (1933) is a cautionary tale about the hubris of man and the dangers of
interfering with the laws of nature.
Carl
Denham (Robert Armstrong) is a fearless adventurer/filmmaker who travels all
over the world looking for dangerous animals to capture on film. He represents
said hubris and sums up his larger than life ambitions quite well early on when
he tells his backers, “I’m going out and make the greatest picture in the world
– something that nobody’s ever seen or heard of. They’ll have to think up a lot
of new adjectives when I get back.” Denham was the James Cameron of his day.
This
time around, however, he has to have a woman in his movie because the public
wants romance. He finds his leading lady, Ann Darrow (Fay Wray), on the street,
caught trying to steal a piece of fruit, and is struck by her beauty. She is
just desperate enough to accept Denham’s vague yet persuasive pitch. Pretty
soon, everyone is on board for a long cruise to a distant and exotic land. On this
latest excursion, Denham has not disclosed to the crew of the Venture where
they are going or for how long.
Once
the ship reaches a certain point, Denham reveals his mission to the Captain (Frank
Reicher) and the first mate, Jack Driscoll (Bruce Cabot): he plans to find an
island not located on any map. Its denizens are far removed from civilization
and worship a god known only as Kong, a mythic creature he hopes to find on the
island and photograph. Denham describes him as “neither beast nor man.
Something monstrous. All powerful. Still living, still holding that island in a
grip of deadly fear.” It’s a tantalizing teaser that makes us want to know
more.
The
first 20 minutes of King Kong do an
excellent job of establishing the main characters and their relationships with
each other while creating an air of mystery about their destination. Denham
remains elusive about his intentions until the Venture arrives at specific
coordinates. They find the island and it is revealed in an atmospheric sequence
that begins with a memorable shot of the ship enshrouded in fog. The closer
they get, the faint sound of tribal drumming can be heard, which effectively creates
a foreboding mood. The establishing shot of Skull Island is incredibly
evocative and is an impressive sight to behold, capturing an eerie tone that is
quite thrilling to behold.
Once
Denham and his crew land on the island, they run afoul of the natives who offer
Ann as a sacrifice to Kong, a giant ape. It is a fascinating snapshot of the
times – the thinly-veiled xenophobia as Denham thinks he can fast talk his way
through negotiations with the village chief, as if this place is just another
location that is there for him to use. From this point, King Kong becomes a rousing action/adventure movie as Denham and
company discover just how dangerous this island is as they encounter all sorts
of lethal creatures that do a good job of thinning the away party’s numbers.
Peril
lurks at every turn as Kong is forced to take out a Tyrannosaurus Rex in an
exciting and fantastically-realized battle. The stop-motion animation is
particularly impressive here – giving the knock-down, drag-out fight a visceral
quality that is missing from Jackson’s movie with its heavy reliance on CGI
re-imaging. There’s an almost tangible quality to the ’33 version that no
amount of then-state-of-the-art motion capture work in Jackson’s incarnation
can hope to replicate. The Kong effects still hold up after all these years and
one marvels at how the big ape’s fur ripples in a given scene or how the
filmmakers expertly cut back and forth from long shots of a stop-motion
animated version to close-ups of his head crushing some hapless victim in his
mouth or large hand or foot stomping someone that gets in his way. Conversely,
the pained expression on his face when he realizes that he’s bleeding from
machine gun fire during the film’s climactic battle is particularly
heartbreaking.
Robert
Armstrong plays Denham with the kind of can-do, might-makes-right, self-made
man qualities that would be popular in many 1980s action movies. For example,
once Ann is captured by Kong, Denham and Jack go rampaging through the jungle
needlessly killing a dinosaur after they’ve already subdued it with gas
grenades. Denham represents naked ambition – a man that will risk life and limb
to get what he wants even if it means taking an impoverished woman off the
street and convincing her to make a film on an exotic land far away. She’s
starving and has nothing to lose, which makes her decision an easy one. He
wants to capture the giant ape so badly that he even considers using Ann as
bait. All he sees is dollar signs – fame and fortune no matter the cost.
Fay
Wray is excellent as Ann, a woman drawn to Denham’s expedition as a way to
escape her poor living conditions only to become a part of something that she
hadn’t bargained for in her wildest dreams (or nightmares). Her screen test for
Denham does a nice job of showcasing Wray’s acting chops as Ann has to react to
her director’s instructions. The actress is so convincing that she has the
ship’s crew invested in her performance. Right from her first on-screen appearance,
we empathize with Ann and care about what happens to her, which is important
when she arrives on the island and is immediately put in peril. Wray also has
the challenge of acting opposite Kong and it is her reactions that help flesh
out the creature and make him sympathetic.
Kong’s
“inspection” of Ann is that of an adolescent discovering women for the first
time – he’s inquisitive and tentative, intrigued by what she wears and even how
she smells. It is a fascinating scene in large part because it gives Kong some
depth – he’s not just some dumb monster rampaging through the jungle but rather
a curious creature fiercely protective of Ann.
The movie was remade in 1976
and again in 2005 by Peter Jackson who re-imagined it as an epic, mega-budget,
fanboy love letter to the original that inspired him to become a movie director
in the first place. Clocking in at double the running time of the ’33 version,
Jackson’s movie is an ambitious juggernaut that, like his The Lord of the Rings trilogy, is ambitious in scale and scope and
yet still has that personal touch.
Ann Darrow (Naomi Watts) is
a struggling Vaudevillian actress whose venue has been closed down due to poor
attendance. The country is in the grips of the Great Depression and times are
tough. Carl Denham (Jack Black) is a filmmaker working on an adventure film
that is in danger of losing its funding. However, he has come into the
possession of a map to a mysterious island that may save his film. Denham even
tricks up-and-coming screenwriter Jack Driscoll (Adrien Brody) to stay on board
so that he can finish the film’s screenplay. In desperation, Denham steals the
existing cans of film and assembles a cast and crew (including Ann) and sets
sail for the island on his map.
Jackson follows the story
structure of the original quite faithfully but fleshes out each segment so that
we spend more time in New York City/on the boat, Skull Island and back in the
city. He takes the elements from these segments and amplifies them. For example,
Kong doesn’t fight a Tyrannosaurus Rex, he fights three of them! Jackson also
goes to great lengths to flesh out the main characters and show what motivates
them, developing their relationships. By the time we get to the action
sequences we know what makes them tick, what is at stake and what they have to
lose thereby making the action sequences more compelling.
He still manages to think
like an independent director by inserting whimsical interludes, like those
early on in the film between Denham and his assistant (Colin Hanks). It is
these details that are just as important as capturing Manhattan circa 1930s.
Jackson thinks on a macro and micro level unlike Michael Bay who works on a
grandiose level.
The attention to period
detail is incredible. ‘30s era Manhattan is faithfully recreated with the
extensive use of warm, golden lighting being quite inviting. There is a scene
where Denham convinces Ann to join his expedition that takes place in a diner,
which looks like something out of an Edward Hopper painting. Another example is
the glowing, warm light that comes out of the portholes of the Venture in the
background of a scene that suggests warm life and a more intimate feeling.
There is a connection between the characters and all the elements in the scene.
Jackson is also a master at
creating the kind of atmospheric worlds in his movies that immerse the viewer
completely. The places the characters inhabit have that lived in look and an
authenticity that gives this world texture. The lighting in this film is
impressive with nods to Classic Hollywood cinema. For example, Naomi Watts
looks absolutely radiant in the initial scenes on the boat as Jackson manages
to top the visual splendor of James Cameron’s Titanic (1997). In sharp contrast is his depiction of Skull Island
as a horrifying, foreboding place, a harsh environment filled with jagged rocks
and inhabited by nightmarish natives. There is something very unnatural about
them and it’s in their wild and crazed eyes.
The movie takes us deeper
into the island as the rescue party sets out to find and bring back Ann from
the clutches of Kong. This is an action-packed section that manages to top
anything seen in the first three Jurassic
Park movies. The Brontosaurus stampede, for example, is intense and
exciting as is the Tyrannosaurus/Kong rumble in the jungle.
Jackson is able to create
almost unbearable amounts of tension out of every exciting chase as the rescue
party is picked off by Kong and other nasties on Skull Island. He also gently
guides us into terror as we go from the whimsy of the Ann-Jack romance to the
tension and an unease of the fog-enshrouded, uncharted waters of the island.
Its first appearance, cued by ominous music and then the sight of the massive
wall appearing out of the fog is impressively staged.
At the time, Kong was
arguably the most realistically CGI rendered character ever put on film (even
topping Jackson’s previous achievement with Gollum from the Rings films) and this is due in large
part to Andy Serkis providing the basis for the ape’s movements and the
realistic expressions on the animal’s face. For example, there is a scene where
Darrow performs for him and we see his mood go from anger to bemusement and
back to anger when she stops. We see all of these emotions play out on Kong’s
face in completely believable fashion. It really is an astounding achievement
as over the course of the movie we begin to empathize with Kong just like in
the original.
I’m of two minds when it
comes to this cinematic incarnation of Kong. On the one hand, I appreciate the
skill and artistry that Jackson instills in every single frame of his movie,
but on the other hand, it still feels like nothing more than a really expensive
fan letter to the original with the mandate that bigger is better. That being
said, it’s a really well-made fan
letter to the original.
The
’33 King Kong version is ultimately a
tragic monster movie as the poor ape is taken from his natural habitat and
exploited for profit only to meet an untimely demise amidst the concrete jungle
of New York City. The real villain is Denham whose lust for greed results in
the deaths of many people during the course of Kong. The movie is certainly a stinging indictment against the
hubris of American culture imposing itself on foreign civilizations. Denham and
his landing party interrupt an important ritual thereby offending the natives
and they don’t expect any kind of reprisals? And then they capture Kong and
exploit him like some kind of freak show for the rich and privileged to gawk at
in amazement. No wonder Kong gets mad, breaks free and trashes New York City in
an attempt to be alone with Ann, the woman he has fallen in love with. By the
end of the movie, Denham has a lot of blood on his hands and a lot to answer
for.
What
makes Kong such a compelling monster that still beats all the CGI creations of
today is that his creators were able to impart a personality by giving him such
an expressive face that is able to convey a wide range of emotions – anger,
curiosity, pain and even love. It is really a shame that most people who were
raised on CGI effects laden movies probably won’t appreciate the artistry that
went into making Kong and laugh at the dated effects. For those of us who grew
up in the pre-CGI days, weaned on glorious Ray Harryhausen classics like Jason and the Argonauts (1963), Kong
still thrills. It is also one of the best action/adventure films ever made.
