All
the film versions of the iconic KING KONG, from the first, in 1933 (starring
director Merian C. Cooper’s stop-motion creature and actress Fay Wray), to the
latest, KONG: SKULL ISLAND, in theaters now, have one theme in common:
Something exists that is greater, older and more mysterious than humankind. We
disrespect it with grave consequences; we exploit it at our peril; and we try
to destroy it only to bring devastation upon ourselves.
The
original film, in black-and-white with the rough soundtrack of the early
talkie era, illustrated these lessons within the framework of a world still
bound by colonialism and overt racism. The “savages” on Skull Island worshipped
the huge ape they named “Kong” as a god. Indeed, they feared him enough to
think it necessary to erect a huge wall against him and sacrifice a virgin to
him on a regular basis. (The whole virgin sacrifice thing, of course, is what got
poor Fay Wray in such famous trouble.)
Our
intrepid (white) heroes, on the other hand, paid little attention to such
backward superstition (at least until a 50-foot ape showed up at the bamboo
gates). Even then, they were not deterred, but thought only of the profit to be
made by capturing the beast and putting him on display to the masses in New
York City. Their own sacrifices were thus made to the gods of greed and
arrogance, as men were lost in the pursuit and eventual capture of Kong. And you
can probably guess the rest, even if you haven’t seen this film classic. The
NYC trip didn’t end well for anyone.
In
its day, the film’s special effects both enthralled and horrified its audience.
People screamed, fainted and left the theater, which only encouraged longer
lines at the next showing. Box office records were broken, and KING KONG single-handedly
saved the almost-bankrupt RKO film company.
Not
so the two modern remakes of this vaunted film. Producer Dino DeLaurentis tried
in 1976. Even LORD OF THE RINGS’ Peter Jackson tried in 2005. They barely
covered their enormous costs, despite big name stars (Jessica Lange in the
first case; Jack Black in the second.) At least give Jackson credit for his
attempt to pay homage to the original in both tone and plot.
Now
comes KONG: SKULL ISLAND, and we can be forgiven, perhaps, for wondering why we
need yet another go at this great concept. But, what the heck? I’m a true
sucker for Kong, have been since the first time I thrilled to those flickering
torches and corny native drums in the original. This version boasts actors Samuel
L. Jackson and Tom Hiddleston and the
benefit of CGI. So, I thought, it must be worth a look.
Boy,
was it ever! Trust me, you want to scrape your nickels and dimes together and
get yourself to the multiplex ASAP to see this movie. It was the most fun I’ve
had at the theater in a long time. Rip-roaring action! A hero you can root for
(Kong, of course)! Interesting subplots! Special effects that leap off the
screen at you! And don’t cheat yourself. This one needs a big screen to do it
justice. I didn’t even spring for the 3-D glasses and it was spectacular.
 |
| The soulful hero of KONG: SKULL ISLAND |
Best
of all, this rendition offers a new twist on KONG’s core concept, which
improves almost everything about the film. KONG: SKULL ISLAND is set in 1973,
shortly before the end of the Vietnam War. The significance of this will be
mostly lost on many in today’s audience, for whom history is not a strong
point. But it allows for a couple of interesting plot twists. First, Sam
Jackson’s character is an Army colonel whose unit is packing up to leave ’Nam
when he’s asked to escort John Goodman’s scientific “mapping” expedition to the
nearby uncharted Skull Island. (More about that later.)
The
timeframe is close enough to World War II that the expedition can encounter
John C. Reilly’s character, a U.S. Navy pilot who crash landed on the island
during the war. He’s a valuable source of information, even if he seems a
little crazy at times.
Fay
Wray’s damsel-in-distress has been replaced (thank God) by a much more able
combat photographer (Brie Larson), who figures out right away there’s a story
to be had and hitches a ride from Da Nang with the colonel’s helicopter squad.
And
Hiddleston’s character, the “jungle guide” tapped by Goodman’s scientific crew
to take them into the unknown hinterland, is found in a sleazy bar in wartime
Bangkok. It’s hinted that he’s a mercenary/spy. Or something. Lots of local
color there!
All
of this is to the good, but the best is yet to come. The island’s “savages” are
smarter than they seem. They worship Kong because he protects them from giant
reptiles that are much worse. Kong himself has reasons for hating those
creatures. And Kong, well, he is soulful. Powerful. Magnificent.
Don’t
tell Jackson’s colonel that, though. He’s of the belief that man is king. (He loudly proclaims some
other arrogant and misguided notions, too, like, “We’re not losing Vietnam.
We’re abandoning Vietnam!”) But then, pride goes before a fall, which is a
lesson he learns the hard way before the end of the film.
After
all, on Skull Island, Kong is king.
Oh,
yeah. KONG: SKULL ISLAND is a definite GO, GO, GO!
Cheers, Donna
