Recent Reviews
Film Review: King Kong
By Caretaker
Dec 26, 2005, 19:03

I was luckily enough to catch a press screening of the film a few weeks ago, but found that I needed to re-immerse myself in all things Kong, before I could properly convene my feelings on this film. So I have revisited the original film on new two-disc special-edition DVD (review), as well as, spent countless hours absorbing the unbelievable extras on the same set. After another two viewings of this masterpiece, I can say without regent that I have finally entered the film equivalent of cinematic utopia while paying witness to what, in my humble opinion, may in fact be the greatest film ever remade and call me a blasphemer when I say, that this version surpasses the original on every level.

In 1933, the original King Kong was unleashed upon the world forever changing the cinematic landscape of filmmaking. What may have been crafted merely as depression-era escapism quickly became a film of monstrous proportions. Over the following years, the Kong legacy has been slightly soiled from his cheesy battle royale with the much superior Godzilla to the John Guillermin’s debacles (King Kong and King Kong Lives) of the 70’s and 80’s. So depending on what side of the remake fence you sit, those with low-expectations or those with high to unachievable expectations, you will be more than pleasantly surprise with Peter Jackson’s masterful re-telling/re-imagination of King Kong.

I found Peter Jackson’s King Kong to be a well-crafted opus that encompasses a full sampling of several essential cinematic genres: comedy, action and of course, drama, while paying tribute to the traditions of a Greek tragedy. Although the film clocks in at 187 minutes, it is comprises of three well-paced acts which all helps to drive the story to its eventual ending. No one should ever doubt Jackson’s commitment to story, its theme and overall message, which has been a favorite of his since childhood, nor should they look beyond the exquisite execution of his abundant filmmaking talent.

The film begins with Al Jolson’s “I’m Sitting on Top of the World”, which rings out like an ominous omen of what lies ahead. Although some critics may say that this part of the film seems to drag, mostly due to their impatience, I found it extremely important in laying the groundwork for the overall effectiveness of Jackson’s storytelling. We are introduced to depths of depression-era America, where men and women spent each day struggling for their own survival, much like the wild animals captured in Carl Denham’s (Jack Black) films. The first act, which plays more on the comical side, focuses on our adventurers’ voyage towards Skull Island and Jackson uses this time to build up the characters thus establishing the emotional framework so essential to the remaining film. On a side note, you should keep your eyes and ears open for a great little tribute to Fay Wray, star of the original, and Merian Cooper, director of the original, early in the film, There is also a cool little tribute to Jackson's own DeadAlive (aka Braindead) as we enter the bowels of the S.S. Venture and catch a glimpse of a sign which reads Sumatran Rat Monkey.

The second act and the most fun to the average fan, takes place on Skull Island. Here we introduced to Kong in all his glory and pay witness to why he truly is king of the jungle. The action here is breathtaking, from the emergence of Kong to his amazing battle with no less than three T-Rexes. Other than the ending, this scene is the high point of the film and really illustrates the technical advancements made since the completion of Jurassic Park. I really found myself wish that it wouldn’t end, because of these amazing action sequences, but probably on sub-consequence level because I didn’t want Kong to end, if you know what I mean.

The final act and the essence of the Kong tragedy takes place in New York, where we find our lovable leading man, I mean ape, a captor of what is supposedly a more civilized society. He is exhibited and exposed to a world that he does not know and because of this, when his rage is finally unleashed, it is uncompromising and savage. In the original, I never felt that Fay Wray’s character felt anything other than pure unadulterated fear toward Kong, here you genuinely feel a bond between the ape and his star-crossed lover (Naomi Watts). Where the original film played more on the spectacle of Kong, Jackson’s retelling focused on the story. Unfortunately for all seasoned Kong fans, the ending is inevitable for here beauty again kills the beast with undaunted emotion and heartbreak. 

Inevitably, the true star of this film and any film with the words King Kong in the title is the titular ape himself. Although Willis O’Brien’s work was amazing and groundbreaking for its time, the original film suffers (in a charming ways) from two-dimensional characters and flat dialog. In this retelling, Kong and the technology that created him is awe-inspiring, but it is Jackson’s ability to maintain the theme and emotion of this heartbreaking story that really propels it beyond the original for pure entertainment enjoyment. Although this film is superior in every level to the original, it will never have the impact that the original had on the movie industry, for without King Kong, the Hollywood Blockbuster may never have been born and for that, it will always maintain a special place in every movie-goers heart. 

Finally, I highly recommend Peter Jackson’s King Kong to any and all fans of the cinematic experience. This may be Jackson’s greatest crowning achievement to date.  It is clearly the best film of the year and deserves to be considered for an Oscar for Best Picture. If you don’t see this film in the theater…shame on you!!!