No doubt Peter Jackson’s superb CGI effects and handsome production values will make his KING KONG just as much of a hit with the filmgoing public as Merian C. Cooper’s B&W RKO original back in 1933. But even with the vast improvement in special effects, a superior script and some extremely well acted leads capable of bringing real terror and thrills to the well-known storyline, one can still retain a certain fondness for the less flamboyant original.
And before proceeding with my comments, it’s essential to note that at least 45 minutes could have been trimmed from the Scull Island action scenes involving assorted attacks by a variety of insects, bugs and assorted prehistoric creatures. There are some goofs here and the machine gunning of some over-sized bugs clinging to the crew of actors has to be considered downright foolish, straining credibility to the limits.
I feel the film is divided into three parts: the first hour is used to delve into the background of the main actors and it does so in a very human and entertaining way against a remarkable New York Depression-era backdrop that has a life of its own and seems to capture the period perfectly; the second part lingers a little too long on jungle clashes with prehistoric creatures including all sorts of slimy bugs and creepers as well as the gargantuan dinosaurs. The hairbreadth escapes that the heroine has from the jaws of death are a bit over-the-top in comic book style so that this part of the film is pure cliffhanger; the third part returns to New York for the wondrously filmed climb to the Empire State Building and is guaranteed to stir feelings of vertigo in anyone who feels themselves inclined to fall forward from dizzying heights–as I did. I found myself clutching the sides of my armrest to steady myself for the whirling camera shots of the city skyline at various angles while bi-planes circled the trapped Kong and his golden trophy.
There is only one element from the original missing. I was waiting for the scene where Kong destroys an elevated railroad line as the train roars by full of passengers. Instead, Jackson has him pawing away at buses and taxis but there’s no railroad destruction at all. Perhaps a sign that the producers ran out of money toward the end of the film and decided not to stage what was a memorable moment from the original.
But all of the Empire State building sequence is breathtaking to behold with superb–but dizzying–camera-work and convincing action from all the participants, including the machine-gunning stunt pilots.
My only criticism is that Jackson seems to have gone all out to embellish every moment of the film, especially the jungle sequences which are a never ending test of endurance for Carl Denham (Jack Black) and his crew. Black resembles a youthful Orson Welles, especially in close-up. Aiden Brody is excellent as the scriptwriter who is essentially hi-jacked for the purpose of completing his fifteen page script so that Denham will have something to shoot when he gets to Scull Island. Naomi Watts is an excellent replacement for the Fay Wray role of the screaming heroine, giving it a bit more depth and sympathy since the part has been enlarged to give her much more to do. Truthfully, she never could have survived half of the tribulations she’s subjected to in the course of the story–but this is a fantasy, of course, and she ends up with a few photogenic scratches.
Kyle Chandler brings a bit of humor to his role as the heroine’s co-star, a brawny chap who admits he’s not the movie hero he is on screen when confronted with creatures even larger than those in JURASSIC PARK. And Thomas Kretschmann as the ship’s grizzly Captain, reminds me of a handsomer Liam Neeson lookalike with talent to match.
Some of the action scenes may be too intense for the youngest kids, but I’m sure young and old alike will make this KING KONG a “must see” on the big screen for years to come. But trimming some of the excessive, bloated action scenes would have made an even more powerful film.
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