King Kong

—1. Overview (multimedia)
—2. Overview Basic (dial up speed)
—3. Reviews and Blogs
—4. Cast and Crew
—5. Photo Pages
—6. Trailers, Clips, DVDs, Books, Soundtrack
—7. Posters
—8. Production Notes
—9. Spiritual Connections
—10. Presentation Downloads

King Kong is an amazing visual and technical achievement; and it’s a pretty good movie as well. Peter Jackson has lovingly crafted a film that not only pays homage to the original, but harkens back to a time when films were made for the pure joy of making a movie, not just a few bucks.

There are some who have said that Kong is too long, but when I finally saw the film, I didn’t feel like that was the case. Certainly I can see where the film could have been trimmed for time (it could easily lose a good twenty to thirty minutes without any negative effects on the narrative), but as it is, King Kong is a well-paced film that flows smoothly through its three-hour running time. Part of what takes so much time is all the characters that Jackson develops in the beginning. Not only do we get some background on our key players such as Ann Darrow (Naomi Watts), Jack Driscoll (Adrien Brody) and Carl Denham (Jack Black), we also get to know several of the sailors that accompany our heroes to Skull Island. We learn that Jimmy (Jamie Bell) was discovered among the cages in the ship’s hold. Mr. Hayes (Evan Parke) has been watching over him ever since and wants the kid to get an education and make something of his life instead of spending it on a tramp steamer. We meet several other crew members, such as Lumpy the Cook (Andy Serkis), who share ominous tales of the island they’re attempting to find. All of this background and character development is fine, but it’s unnecessary because most of the humans are merely tasty, bite-sized treats for the creatures they encounter. Plus, after we leave Skull Island, there’s no resolution to some of these character arcs. We never discover what happens to Jimmy after his harrowing experience on the island. Does he make something of life? Does he even determine to? If you aren’t going to tell me, you shouldn’t make me curious about such things in the first place. There’s also very little resolution for Carl Denham, who brings about disaster with his own ambitions and greed. After Kong meets his untimely demise, I wasn’t sure that Carl had learned anything from what had taken place. A little more closure with this character would have helped the ending feel a bit more satisfying. As for Jack Driscoll, well, he’s really just there to give Kong someone to be jealous of when it comes to Ann’s affections.

Whether or not all these other characters are developed is moot. I’m glad they were, to a certain extent, as it added some depth to the story, but really this story is about Kong and Ann. Obviously there is very little dialogue between these two characters, but it isn’t necessary anyway. Both express so much through their body language and with their eyes that you can tell exactly what they’re feeling; and that’s saying something when it comes to a fictional, computer-generated, thirty-foot gorilla. Because Ann and Kong are so believable, because you feel so much for them, because you truly believe they have developed a very special bond, the final scene at the Empire State Building is incredibly heart-wrenching despite the fact that you know what’s coming. It’s the emotional pay-off of this story, and it’s a big part of what makes this film so special. It’s when the movie focuses on these two characters that it really shines. Naomi Watts turns in an amazing performance as Ann that is worthy of Oscar consideration. She not only has the classic beauty befitting a period piece such as this, but when you consider the fact that she was basically interacting with a giant ape that wasn’t really there, her performance is truly something special. As for Kong, well, you have never seen a CG character brought to life quite like this. Once again, Andy Serkis and Peter Jackson do something truly special with an entirely digital character. Kong is both terrifying (my heart clenched in fear every time I saw Kong’s brow furrow in a mighty glare. It truly makes you want to run) and gentle (have you ever heard a thirty-foot gorilla laugh? You will). You feel Kong’s raw power and his visceral, primal ferocity, but you can also sense something more. There are deeper emotions in this creature, emotions that are strangely beautiful in such a savage beast, and therein lays the tragedy. While all anyone else sees is a terrifying monster, the special insight of a young woman sees that there’s something more, something beautiful about this beast. While the rest of the world sees a monstrous creature that needs to be destroyed, she sees a beast that is gentle and caring; one that she can care about and love in a very special way. You know, we’ve all felt ugly at times—bestial you might say—and it’s in those times when we desperately want, nay, need someone to see through the ugliness, to find a beauty within that can be loved and cherished. The good news is there is One who sees beyond our ugliness and sees something beautiful in each one of us. There is Someone who will always love us for who we are, just as we are, no matter how ugly and bestial we may be. In a world that is always ready to destroy whatever it deems ugly, how comforting it is to know that there is One who will love that which is ugly and make it beautiful.

King Kong may start a bit slow with its meticulous exploration of character backgrounds and detailed set-up, but once Skull Island is reached, things kick into high gear and rarely slow down. Peter Jackson once again proves himself to be a master of special effects as Skull Island is brought to life with a deadly beauty and grandeur. The creature effects are spectacular and creepy, especially in the spider-pit sequence (a sequence that was dropped from the 1933 original due to technical limitations). A depression-era New York City is brought to life with a touch of fantasy so that it doesn’t quite feel real, per se, but is believable nonetheless. The final battle on top of the world’s tallest building (at that time) is hauntingly beautiful in the way that it’s filmed; it’s breath-taking, exciting, and emotional. Some of the effects are so extreme that they really stand out, but it’s all so entertaining that you don’t care if you know it was done in front of a green screen. The action is relentless and at times so extreme that you can’t help but to think “Yeah right, no one could do that and survive�, but again it’s all so entertaining that it’s not at all hard to suspend disbelief and enjoy the ride. It’s a visceral, primal, exciting experience; exactly what one would expect on a place called Skull Island that’s ruled by a creature known as King Kong.

Peter Jackson obviously loves this story, and it shows in every frame. In fact, he loves it so much that at times he was perhaps a bit over-indulgent in his treatment of it. Still, King Kong is a rare movie experience. I can’t remember the last time I felt this much of “wow� factor, this much of an exciting, thrilling ride at the movies. King Kong makes going to the movies an event again, and that’s something very special in an era of big-budget “event� films that usually disappoint. King Kong is an experience you’ll never forget, and one that’s not to be missed while it’s still on the big screen.

—Overview
—Reviews and Blogs