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The original King Kong was an attempt to bring the age of dinosaurs and monsters alive on the sccreen, and in doing so inspired the whole action, adventure and special effects field. So whatever the validity of the general point about destroying imagination, it’s not really applicable in this case.ĭoes watching vividly something on screen ‘nibble away’ our capacity for imagination - or, if done with passion and vision, stimulate it enormously? And in Ann Darrow’s case, some of the backstory pays off in her scenes with Kong (I would be more specific, but don’t want to spoil anything that wasn’t in the original).įinally, Kong was never a book - at least not before it was a movie. Jackson should show and not tell? That’s exactly what Jackson is doing in the first hour. The acting on the boat is meant to be poor - the “improvised dialog” that annoys Driscoll is straight from the 1933 version.
#KING KONG 2005 CAST MOVIE#
Indeed, a couple of original movie props from his collection are used as set dressing (on the boat) in this version. The extras also showcase items from Jackson’s extensive collection of Kong artifacts (as Mr. Jackson not only puts it in his picture, but also has a run at it using 1933 effects techniques on the “extras” disc for the “Special Edition” of the original Kong DVD. If you have any doubt as to Jackson’s love of Kong, consider that the “spider pit” sequence was cut from the original film and lost to history. When the pond slugs (or whatever they were) and the giant insects were descending on our heros after a solid 1/2 hour of being chased by several other kinds of animals, I (and some others in the audience) just had to laugh…it was just so absurd. And the Empire State Building it’s amazing how much taller it was than all the other buildings in Midtown at the time.
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The 30s New York scenery was awesome but a little disctacting for me…I was often too busy trying spot local landmarks to follow the human/ape action onscreen. As long as Jackson stays true to what he loves, I’m willing to cut him some slack and resist the contemporary urge to be cynical about everything and let him entertain me. His last four films have been hugely merchandised, expensive to make, and made him rich, but when you watch them it’s clear that Jackson really really loves 30s movies, fantasy, filmmaking, Tolkien’s books, and King Kong…and he celebrates the things he loves. There are many possible lessons contained in that statement, but perhaps the one Peter Jackson had most in mind was its application to the cynicsm of Hollywood filmmaking. Just before Kong runs amok at the end of the film, a character remarks that Carl Denham (Jack Black) destroys the things he loves. But judging from the reaction of the NYC audience I saw it with, Jackson made it work. The 30s-style moviemaking is ripe for snark. At its core, Kong is a love story between an ape and a woman…how can you not make fun of that? Some of the special effects sequences are probably over-long and implausible. The other thing I was thinking of while watching the film was how easy it is to be cynical about this film.
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In that respect, Kong is like Star Wars, a corny film that works because it’s supposed to be a space opera, not a serious dramatic film. Cheesy but not schlocky, which leads me to believe it’s intentional on Jackson’s part, an homage to the original Kong and other 30s swashbuckler romance adventure pics. But Kong is also very cheesy, like Michael Bay-grade cheesy. And not just that but an engaging plot, good acting, and a meaning beyond what’s happening on the screen.
#KING KONG 2005 CAST FULL#
On the one hand, it’s a fantastic movie, a huge blockbuster, chock full of amazing special effects. I don’t really know what to make of Peter Jackson’s King Kong.