I think it’s absolutely repugnant that some people are now treating Christmas as a license to mooch off money. Their justification being that this is the season for giving and so it’s just a-okay to treat anyone who looks like he eats three times a day as a cash dispenser at their beck and call. To all these freeloaders, fuck you!!!
Oh, and a happy holidays to everyone else!
King Kong
When a friend of mine was conned into buying the 1933 version of King Kong instead of what she thought would be Peter Jackson’s latest opus, I thought it’d be a good idea to borrow it and watch the original King Kong movie ahead of the latest incarnation to get a better understanding of this apparent fascination Peter Jackson had with the movie. After all, he did say that watching the 1933 version of King Kong back in his native New Zealand made Jackson want to be a movie director.
So did I like the new King Kong movie because I saw the original first? That’s a resounding yes. I could only imagine how people back in the 1930’s were astounded by the special effects. Admittedly, the stop-motion photography utilized to feature Kong is very crude compared to the magic that CGI weaves in the current movie. However, the original film exposed a world of prehistoric animals that could somehow exist bearing in mind that technology had not advanced to the point like right now that we could say with absolute certainty that such fantastical creatures could not live among us. People were less jaded by the modern world back then and so the idea of a giant ape falling in love with a woman doesn’t seem so farfetched as it does now – although the original downplayed the possibility of any emotional bond that Ann Darrow had toward Kong.
Jackson also chose to retain several of the characters which appeared in the first King Kong although he made some changes with these: Jake Driscoll, Ann Darrow’s love interest, is now a screenwriter and not the first mate of the ship Venture; the ship’s captain, Englehorn, is now a much younger and tougher man who bickers with the lead character, the movie director named Carl Denham; the Chinese cook named Charlie is not the stereotypical stupid and cowardly Asian (read: non-Caucasian) character who affords comic relief with his bumbling ways; and the natives of Skull Island aren’t stereotypical stupid and cowardly black (read: non-Caucasian) people with atrocious afros and coconut shell brassieres (Skull Island is supposed to be near Sumatra – how people who apparently came from the African continent got to settle there was unexplained).
If I had any complaint about Jackson’s version of King Kong, it’s the three hour running time of the film. The original King Kong clocked in at about one hour and half so where the other one hour and a half go with the new version? Well, exposition and CGI. This time, Jake Driscoll doesn’t just blurt out “Say…I think I love you!” to Ann Darrow and this is enough for her to melt in his arms for a kiss. We’re given the back story that she’s always been in love with him eventhough Ann Darrow only knows of Jack Driscoll through his work as a playwright and he eventually falls in love with her because, well, she’s freakin’ Naomi Watts, that’s why. The CGI scenes with Kong and the assorted ginormous resident-beasts of the island are mind-boggling to behold. I guess Jackson had to go showcase the cutting edge of special effects currently available so as to impress the present crop of moviegoers, in the same way the original King Kong made a number of mouths gape open in rapturous admiration.
All in all, the new King Kong is certainly worth the price admission but seriously given the less weight in popularity the source material had compared to his previous directorial effort, Jackson could have trimmed one good hour off the film’s running time. Seriously, we’re talking about a giant ape here.