King Kong

By Kate Xian
December 16, 2005

Remakes of classics have become a huge trend in Hollywood as of late. So one has to ask, what is it really about remakes (or 'adaptations' as they are often positively termed) that Hollywood is so attracted to? Well, there are already three things in their favour: 1) a script that's already written, 2) a built-in nostalgic audience ready to see it for "old times" sake, and 3) an intention that has already been established. Sounds like money in the bank, right? Not exactly. Hollywood refuses to forsee the one thing that works against their favour: the majority of remakes often lead to box office disasters that simply can't be swept under the rug fast enough (*ahem* Alfie, The Stepford Wives, Rollerball, The Longest Yard and King Kong - the 1976 version that is). Is it possible for there to be an exception? The Oscar® winning Peter Jackson has taken it upon himself to throw himself into the trenches and redo the monster classic King Kong.

The reprise stars include Naomi Watts taking on the iconic role of Fay Wray as Ann Darrow, Jack Black as the obsessive Hollywood director Carl Denham, and Adrian Brody, with a few character turns, as Jack Driscoll.

Entertainment 10/10

Despite the film's length, the pace held from the opening credits to the end. King Kong opened with a great montage establishing the 1930s depression and the popular vaudevillian entertainment of the period. The setting was a beautiful device to enforce the life of Ann Darrow, which was much more than the original was ever able to do. Though Kong doesn't make his entrance until a full act into the movie, the film maintains the viewer's interest with its characters. The plot surrounding Carl Denham (Jack Black) differs slightly from the original. In Jackson's interpretation, Denham is driven to succeed no matter what the costs, making his plotline lovable and just a bit goofy. The love story between Ann (Naomi Watts) and Jack Driscoll (Adrian Brody) are also developed much more clearly than in the 1933 version. Jackson has wiped out Jack's 30s misogynist adventurer and replaced him with a charming and intelligent screenwriter. Many of the supporting characters are also developed to keep the audience tuned in before Kong's big reveal, such as the touching father/son relationship between cabin boy Jimmy (Billy Elliot's Jamie Bell) and Hayes (Evan Parke).

From Watts' first terrifying, bone chilling scream (which is on par to the legendary scream of Fay Wray), Jackson does not hold back. From that moment on the film leaves you on the edge of your seat wanting to see more. The action sequences are wonderful to watch as Jackson has added numerous more creatures, fiends, and monsters to the mix, making the ship and film crew's rescue mission that much more harrowing. Jackson also upped the ante in the classic T-Rex versus Kong battle throwing in a few more dinos while paying tribute to the 1933 jaw-breaking *wink wink* original.

Innovation 8/10

An ape has never looked so damn good.

Minus 2 for the few obvious uses of green screen...

Emotional Resonance 9/10

Brody's Jack Driscoll is a sensitive and caring man, far from the original John "Jack" Driscoll. The tension between Jack and Ann is very well played out, especially when Kong is thrown into the mix. The love triangle becomes painful to watch (if only Jack had told her how he felt!) and if only there was enough of Ann to go around...oh the possibilities.

King Kong, though technically not real, is without a doubt one of the most realistic renderings of raw emotion. Kong is truly, 100% character. And what a character. He is a wild spectrum of emotions ranging from love to anger to annoyance to courage to joy. Jackson's vision of Kong's fall from the Empire State building haunted him for years and now that he has finally put it onto film for the world to see, the vision of Kong's fall will surely remain carved into your head for years to come. Have the hankies ready.

Social Context 8/10

Be kind to animals. Deep down there are many themes that resonate with you when you look beneath the fun, effects and action. King Kong turns an animal into a person. Kong clearly has a personality and is capable of many of the same emotions as we are, yet he is made into a circus sideshow freak for what he is. A definite sympathetic approach to the ape. Animal rights activists can put down their signs momentarily and just tell the world to watch King Kong.

The film also illustrates what greed and money can do to a man. Though he does have moments of regret, Carl clearly loses his common sense amidst his greed. The film also, overall, has much more to say about relationships and love in general. Love extends beyond what can be sanctioned by a church and the film cleverly demonstrates this with Jack and Ann, Ann and Kong, Jimmy and Hayes, Lumpy and Choy, Carl and money, and many others.

Jackson's interpretation also discards many of the flaws of the 1933 original. He does away with Jack's sexist lines and curbs the "white man's" prejudices of indigenous cultures. With the exclusion of the cringe inducing comments laden in the 30s mentality, Jackson's version is that much more pleasurable to watch .

Recall 10/10

The visuals of this film alone are unforgettable. You're squirming just thinking about the mutated slugs and other un-nameables, and Naomi Watts resemblance to Wray astonishes. The sets are also incredibly painterly with stunning colour and depth. Kong's jungle is realistic yet other worldly. Any still from the film reveals the amazing texture rendered into each frame and can stand alone as a work of art.

The climax of the film where we witness the fall of Kong, is also undoubtedly memorable, continuing to reaffirm that Jackson is the king of tragic falls (Boromir!).

Overall 90%

Where's my Kleenex...?

Wide Release Date: December 14, 2005
Running Time: 3 hours, 7 minutes
MPAA Rating: PG-13
Director: Peter Jackson
Producers: Fran Walsh, Ernest B. Schoedsack, Peter Jackson
Screenplay: Peter Jackson, Fran Walsh, Philippa Boyens
Story: Merian C. Cooper, Edgar Wallace
Director of Photography: Andrew Lesnie
Editor: Jamie Selkirk
Music: James Newton Howard