Review by Vives Anunciacion
December 14, 2005
Inquirer Libre
(English version)
King Kong
Directed by Peter Jackson
Written by Fran Walsh, Peter Jackson, Philippa Boyens
Based on the story by Merian Cooper and Edgar Wallace
Starring Naomi Watts, Adrien Brody, Jack Black, Andy Serkis
PG 13/ 187minutes
Universal Pictures/ Wingnut Films
“And now, ladies and gentlemen, before I tell you any more, I'm going to show you the greatest thing your eyes have ever beheld.” – Carl Denham
It's said that originals are always the best. But the remake is better this time around. Visceral, visually amazing and surprisingly heartbreaking, King Kong 2005 may very well be the mother of all monster movies.
Based on the 1933 original by Merian Cooper and Ernest Schoedsack, King Kong tells the story of a gigantic beast forcibly taken from its island kingdom and made into a Broadway attraction in 1933 New York.
Jack Black plays obsessed filmmaker-producer Carl Denham, who tricks his crew to shoot an adventure movie in an unknown island in the South Pacific. Set in 1933 New York at the height of the Great Depression, Denham literally saves vaudeville actress Ann Darrow (Naomi Watts, Oscar nominee for 21 Grams) from starvation and hires her to play leading lady to bumbling matinee actor Bruce Baxter (Kyle Chandler).
On their way to the location, aboard the vessel Venture, romance blooms between Darrow and the movie’s nerdy writer, Jack Driscoll (Adrien Brody, Oscar winner for The Pianist.) But this love story is short-lived once the crew sets foot on mysterious Skull Island, where hapless Ann is captured by fierce island natives and offered across a wall of fire to the island's de facto ruler, Kong.
Driscoll and the rest of the crew attempt to save Ann from Kong's massive grip at all costs while Denham and film crew continue filming despite the dangers. Meanwhile, Ann begins to understand her captor's beastly behavior, developing a special friendship with the giant. Kong is enamored with his new friend, becoming its protector more than its captor. But in the end, Ann is rescued by Driscoll and Kong is violently captured by the crew, at a great loss from the group. Kong is inhumanely taken to New York where Denham makes him into a show attraction. Like the original, the King meets his tragic doom atop the Empire State building.
Director Peter Jackson and his Lord of the Rings team recreate the 1933 classic romance in breathtaking full-color grandeur, and also making it longer by 87 minutes. Despite the 3-hour running time, there’s practically no letup in the emotionally-sweeping narrative. Every minute counts as the filmmakers take time to develop characters and relationships, especially those between Ann and Driscoll, and Ann and Kong. By the time Driscoll rescues Ann from Kong’s hands, the love-triangle is believable, even sympathetic.
1933 New York is spectacularly recreated, the detail very impressive. Even the dialogue pays homage to the original, when Denham and his assistant are choosing replacement actresses, Fay Wray is mentioned, referring to the original Ann Darrow in the 1933 RKO movie. The look, the lighting and the sets are reminiscent of old Technicolor movies. This King Kong combines Jurassic Park, Titanic and An Affair to Remember in truly epic proportions.
The biggest achievements of the latest Kong are none other than Ann and Kong, who bring onscreen amazing, heartbreaking intimacy, made more amazing because a real human plays one part (Watts), while the other is computer generated imagery. In the end, when the audience gives a collective sigh, the tragic romance is complete.
King Kong is a gigantic achievement, hands down the best spectacle of the year. Forget seeing this movie in dvds or videos (unless you have a 120-inch screen at home), this is the stuff cinemas are made for.
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