Films In Review » King Kong

CHRISTMAS STOCKING FILLERS FOR 2005

Roy Frumkes — Thu, 15 Dec 2005 13:06:27 +0000

There are two DVD packages this season that are absolutely indispensable. You should fine someone to give them to as a gift immediately. Better yet – give them to yourself. We’re all allowed a certain number of self-gifts for Christmas. These are essential home video collections. And the rest aren’t bad either…

A WILLIS O’BRIEN COLLECTION (Warner Bros Home Entertainment) – KING KONG DELUXE SET

He was a King and a God in the world he knew, but now he comes to DVD! The KING KONG Collector’s Edition is easily the DVD event of 2005. Warner Brothers went all out giving lovers of this 1933 screen classic something to salivate over. Film fanatics in general will have a blast piling through the extras on this must-own disc.

The DVD releases (there are three separate packagings) include a) the uncut 1933 version of KING KONG, with a slew of extras, b) a more elaborate ‘tin’ including a reproduction of the Program Guide you would have received had you attended the film’s March 1933 premiere, and c) a less ritzy boxed release in which you also get KONG’s sequel, SON OF KONG (1933) and MIGHTY JOE YOUNG (1949), both of them sweet, loving kin of Kong.

KING KONG
Executive Producer- David O. Selznick
Screenplay by James Creelman and Ruth Rose
From a story by Edgar Wallace and Merian C. Cooper
Chief Technician – Willis O’ Brien
Music Score – Max Steiner
Directed by Merian C. Cooper and Ernest B. Schoedsack
Cast: Fay Wray, Robert Armstrong, Bruce Cabot, Frank Reicher, Nobel Johnson
1933 100 minutes RKO – DVD release by Warner Bros Home Entertainment

I’m one of those who has seen KING KONG literally dozens of times: in theaters, on VHS, laserdisc, and of course, the late-late show. It never looked as crisp as it does on this DVD. Taken off a pristine British 35mm print, there is hardly a scratch, or an audio pop. The jungle sequences now have incredible visual detail. The New York sequences jump out in sharp blacks and grays.

If you don’t know KING KONG’s basic plot-line, than where have you been? Over-enthusiastic film-maker Carl Denham takes his camera crew and his new leading lady, Ann Darrow, to Skull Island, where the natives kidnap Ann and offer her to their God, a gigantic gorilla they call Kong. After numerous perils with dinosaurs and Kong, Denham captures the beast and brings him to New York for paying audiences to gawk at. The chains holding Kong don’t hold, and, well, you know…

Not only is KING KONG a marvel of primitive special effects, it’s movie-making at its most energetic and experimental. It’s an amazingly well-edited and swiftly-paced film. I always loved how many key scenes in KING KONG either begin or end with people scattering for their lives. Scenes that would have just been boring filler are bypassed. This is true in the scene on Skull Island Beach where Denham knocks Kong out with gas bombs, and shouts out how Kong will be the biggest thing on Broadway. We jump-cut to Kong’s opening night. A lesser film-maker would have had at least ten yawn-inducing minutes of Kong being transported to New York, the New York Department of Health throwing a hissy-fit, and Kong being custom-fitted for chains.

The KING KONG extras begin with I’M KING KONG!, a one-hour documentary on the film’s producer/director, Merian C. Cooper, co-produced by Kevin Brownlow, the extraordinary film historian whose documentaries are labors of love as well as works of art. “Coop”, as friends called him, was an amazing renaissance man. Along with Kong’s co-director Ernest B. Schoedsack, “Coop” made GRASS (1925) and CHANG (1927), two silent documentaries about the wilds of Africa and Siam.

“I made my first two films without ever visiting Hollywood.” Cooper commented in a vintage recording that can be found on the commentary track. “I was an entirely self-taught filmmaker!” Cooper became head of production at RKO studios, where he championed the early use of the Technicolor process. He later helped to develop Cinerama, an early widescreen process that revolutionized the formats in which films were shot.

Now we come to RKO PRODUCTION 601: THE MAKING OF KONG, EIGHTH WONDER OF THE WORLD, a two hour documentary about the birth of Kong. In 1931, pioneering stop-motion animator Willis O’Brien filmed a test reel to prompt RKO executives to green-light CREATION, a story about shipwreck survivors encountering dinosaurs. Cooper hated O’Brien’s plot outline (CREATION’s story is recreated in this documentary, compellingly narrated by redolent toned film preservationist Scott McQueen, but even so, you’ll see why Cooper didn’t respond to it!) However, Cooper was captivated by O’Brien’s stop motion work, which showed dinosaurs attacking hunters. Cooper had been developing KONG, and enlisted O’Brien to bring his story about a gigantic ape to life.

We go into the casting of KONG. 1932 was a busy time for the lovely Fay Wray. She was making 12 films that year. It’s interesting that KING KONG did not help the careers of its talented cast. Robert Armstrong, who played Denham with brilliant gusto, would only do supporting roles afterwards (He is very funny as a sarcastic FBI man opposite James Cagney in 1935′s G-MEN). Bruce Cabot, who plays Jack, Ann’s human love interest, would appear here and there, mostly as a bad guy. KING KONG was Fay Wray’s last starring role.

One of the great cinematic Holy Grails (a celebrated scene that was cut from the film, and then lost) is the scene where Kong has shaken sailors off a log into a chasm, where giant spiders, crabs, and squids attack and devour the helpless men. The scene was shot, but cut from the film before it’s general release, and it hasn’t been seen since. All that exists of this gruesome segment is Cooper and O’Brien’s shot list, and a few stills.

This is where Peter Jackson, the maker of KING KONG 2005 comes in. His visual effects team at Wingnut Productions recreated the spider pit sequence using 1932 technology (stop motion, a 35mm movie camera from the period, glass mattes, pose-able figurines, and no computers) They used the shot list and stills as a guide. They also re-created missing jungle scenes involving a Styracasaurus. (FIR’s editor commented that the Styracasaurus animation resembles Willis O’Brien’s work, while the spider pit creatures behaved as if Ray Harryhausen was guiding them.) I showed the spider pit sequence to two friends who seen almost everything filmed, and like me, their jaws dropped! Ray Harryhausen, whose legendary stop motion career started when he first saw KING KONG during it’s 1933 first run, heads a wonderfully enjoyable commentary track.

SON OF KONG
Produced by Merian C. Cooper and Ernest Schoedsack.
Screenplay by Ruth Rose
Chief Technician – Willis O’Brien
Music Score – Max Steiner
Directed by Ernest B. Schoedsack
Cast: Robert Armstrong, Helen Mack, John Marston, Frank Reicher
1933. 71 minutes – RKO – DVD release by Warner Bros Home Entertainment

“Oh, heavens!” they must have said at RKO, “A sequel to our biggest hit – KING KONG! How on earth are we going to top the original?!” Merian C. Cooper wisely decided not to top KONG, but to parody it! What makes SON OF KONG such an enjoyable film is that it’s a study in let-down! Every time something is built-up in the film, it’s smashed down. The film’s opening shot shows a poster advertising King Kong’s Broadway debut. The camera pans down to show the poster is tacked to flop-house wall. Carl Denham, Kong’s captor, is sneaking out to avoid the process servers and lawsuits. On a South Seas island, Denham sees an ad for an exotic local singer – La Belle Helene (a very cute Helen Mack). Her stage act is a confusing, off sync, untrained monkey act. When Denham, Helen and company return to Skull Island they find smaller dinosaurs and a relatively diminutive albino Kong. You have to laugh with Robert Armstrong’s Denham as he apologizes to Kong Jr. for “knocking off your ol’ man,” or, in one scene, chastising the big baby gorilla for playing with a loaded rifle: “You big rummy!” At 71 minutes, SON OF KONG is a fun little flick, with a genuinely touching ending.

MIGHTY JOE YOUNG
Produced by John Ford and Merian C. Cooper
Screenplay by Ruth Rose
From an original idea by Merian C. Cooper
Special Visual Effects – Willis O’Brien and Ray Harryhausen.
Commentary track with Harryhausen and Moore.
Directed by Ernest B. Schoedsack
Cast: Terry Moore, Ben Johnson, Robert Armstrong, Frank McHugh
94 minutes. 1949 – RKO – DVD release by Warner Bros Home Entertainment

Once again, Merian C. Cooper wanted to make a giant gorilla picture, and as he did with SON OF KONG, the showman wisely chose not to top his 1933 classic (although the stop motion destruction scenes are unparalleled), but to have fun with it. MIGHTY JOE YOUNG is a fast paced fantasy-comedy-thriller about a gentle simian giant raised on an African plantation by a young girl (Terry Moore). A Carl Denham-clone stage producer named Max (the always energetic Robert Armstrong, this time sporting an awful toupee) coaxes Jill to bring Joe to Los Angeles where he features the giant ape in a night club routine. The crazy skits Max dreams up for Jill and Mighty Joe resemble Barnum and Bailey on crack! (The tug of war between Joe and a line up of beefy muscle men is 100% entertainment overdrive!) Joe finally goes berserk, and tears the club apart. There’s a court order to have him killed, but Max and Jill brainstorm an escape, and the mad chase is on.

John Ford is credited as a second unit director. (I’d love to know what scenes!) There are amusing cameo appearances by Hollywood supporting actors like Charles Lane, Edward Gargan, and Jack Pennick. MIGHTY JOE YOUNG’s highlight is the stop motion work, most of it by young Ray Harryhausen. His work here is some of the best animation you’ll ever see. The fist-fight between Joe and former heavyweight champion Primo Carnera, Joe’s rampage through the club (complete with animated lions, drunks, and debris), and the climactic fire sequence, help make MIGHTY JOE YOUNG a high-caffeine treat.

I have to mention how “film-logic” fuels MIGHTY JOE YOUNG’s third act. Joe is in a stolen van, being chased by angry policemen who are gaining on him. Suddenly they come across a burning orphanage, and Joe redeems himself by rescuing the trapped kids. (With my luck, if I was helping Joe escape, I’d come upon a burning maximum security prison with death row inmates waiting for a rescue!) While Joe lies there injured, after having rescued the last screaming tot, Jill is assured by her boyfriend (warmly played by Ben Johnson) that “Nobody’s gonna shoot Joe now!” Uh, excuse me, Benny, there’s a court order to shoot Joe! Are you a lawyer?!

Merian C. Cooper never worried about logic and goofball details. He was just interested in entertaining an audience, which he has done superbly for the last 70 plus years.

A commentary track is provided by Ray Harryhausen, whose memory about things 55 years ago is quite sharp, and Terry Moore, who Primo Carnera used to call “Teeny Weenie” on the set. At times the conversation flags, but mostly it’s a warm remembrance flavored with factual flourishes. One of the most important bits of info is supplied by Harryhausen: the tinting of the fire sequence was originally two-color – yellow and rich red, not the somewhat washed out orange we have here. Couldn’t someone have called him first?

KING KONG (Greg)

Greg Lamberson — Mon, 05 Dec 2005 14:55:07 +0000

Universal Pictures / A Wingnut Films production
MPAA rating PG-13 / Running time 188 minutes

Saw KONG. I thoroughly enjoyed it, except for all the stuff I didn’t enjoy, like Jack Black, the phony dinosaurs and the long intro. The natives were scary, but I saw no hint of a society there. Fun stuff, but I’ll take the original any day.

Greg Lamberson is the writer/director of: SLIME CITY, author: PERSONAL DEMONS)

Cast:
Ann Darrow: Naomi Watts
Carl Denham: Jack Black
Jack Driscoll: Adrien Brody
Capt. Englehorn: Thomas Kretschmann
Preston: Colin Hanks
Kong/Lumpy: Andy Serkis
Hayes: Evan Parke
Jimmy: Jamie Bell

Credits:
Director: Peter Jackson
Screenwriters: Fran Walsh, Philippa Boyens, Peter Jackson
Based on the story by: Merian C. Cooper, Edgar Wallace
Producers: Jan Blenkin, Carolynne Cunningham, Fran Walsh, Peter Jackson
Director of photography: Andrew Lesnie
Production designer: Grant Major
Music: James Newton Howard
Co-producers: Philippa Boyens, Eileen Moran
Costumes: Terry Ryan
Editors: Jamie Selkirk, Jabez Olssen

KING KONG (Gordon)

Gordon Jones — Mon, 05 Dec 2005 14:54:57 +0000

Universal Pictures / A Wingnut Films production
MPAA rating PG-13 / Running time 188 minutes

There is no need to cover the basic plot, so moving right in, overall, I was disappointed in Jackson’s KING KONG. It had streaks, fits of greatness amidst its otherwise long, mediocre haul, but tragically, it is a story that did not need to be retold despite the light years in technological advances. As if to remind you just how far we’ve come, Jackson has even given you a few dozen shots of Jack Black hand-cranking the camera. Not that I’m a big fan of the whole King Kong story in general. I’ve always been fascinated by gorillas, Tarzan, Gorillas in the Mist, and I’ve always followed Rick Baker’s struggle with a perfect representation of one. I wonder what he would think of this new, flawless-looking Kong, having worked on the previous 1976 version, even playing Kong himself in that film. However, I think Kong is a B-movie premise and you can’t make a $200 million B-movie. It doesn’t work, the grandness of the scope that money affords conflicts with the pulpy-premise, which is why the last three STAR WARS movies are dreadful. This is KING KONG, not as Jackson would have you believe, ‘Heart of Darkness’. You cannot shift Kong into epic mode, he’s an atomic one liner, even if he wasn’t created by radiation. I haven’t read the original 160-page (a clue as to proper length) novel, but I think it’s a very unsatisfying and pointless story on the big screen. The original was a gimmick, all about seeing sights you have never seen and wrapped around it was the most basic of adventure plots with a syrupy dose of simple tragedy thrown in. There might be depth in the book, but here it’s all skin deep. This ain’t Shakespeare (Adrien Brody is even called this by Andy Serkis, during his bizarre Popeye riff).

In an epic you need a theme and KONG’s, like the title character, is painfully simple – Man vs Beast – Man is cruelest. I get it and I hate that theme. I know we suck, don’t remind me with a $200 million brick to the head. It’d make an interesting half an hour episode of Amazing Stories or Twilight Zone, but as a three-hour movie it is negating its wham-bam-thank-you-m’am heart.

The first hour of KONG is completely pointless. When I say pointless, I really mean utterly wasted. It doesn’t build character or interest, it stumbles and falls around trying to find footing. It doesn’t set the stage, it kills time. Everything, character-wise and plot-wise, gleaned in the first hour could have been handled in five to ten minutes on the ship, heading to the island. And it would have been so much better to learn about these people during the island adventure. Instead, Jackson tries to cram it all up front so he can be free to blaze away on the action for the rest of the movie and not have to worry about developing his characters, but it’s the audience that needs to worry about the characters, and we don’t, so he does a disservice to the grand action he finally delivers. More on that later.
The dialogue is so bland it is non-existent. Not that it has to be Mamet or The Cohens…Actually that would have been great. Nothing said in KONG is funny, nor witty. Nothing endearing, or even expositional, it’s just there, as if Jackson wanted to make a silent movie (it essentially is one) but everyone told him it had to be a talkie. He even manages to make quotes from Conrad sound bland.

The movie is also fatally, even criminally, miscast. Jack Black is just the worst pick for this role. I can think of a hundred other actors, better suited, who would have had a delicious old time with Carl Denham. Alec Baldwin anyone? Black is incapable of delivering these stale, dry lines. Most sinful is the famous ending line, which here is almost laughable coming about of Black’s signature evil elf mouth. Black is capable of good acting; just watch his earlier small roles. I think the problem is with Jackson. He is not very good with borderline-actors. Orlando Bloom, fresh out of film school, and sexy as he may be, was the worst actor in LOTR (keep your hate-mail to yourself.) Everything is so over the top in Jackson’s films, acting always included, it took an incredible actor like Ian MacKellen to get a natural performance in LOTR (the only one nominated BTW).

Adrien Brody is the other terrible choice. Yes, he can act, he won an Oscar for it, and here he doesn’t look the part at all, so they make light of it, but he has no charisma as an action-hero or even screen presence in general, and you can’t explain that away with exposition. “Yes, he is a boring book worm, but he’ll save us all and we won’t find it compelling in the slightest.” Why Jackson couldn’t go to Viggo Mortensen for his Driscoll we will all be left to wonder. There is nothing wrong with re-using actors. There are great director-leading man parings throughout film history. I think maybe Jackson wanted to distance himself from LOTR, but it’s futile, he can’t, just like Spielberg will always be JAWS and RAIDERS. So here we are left with the Captain and the First Mate of the ship bringing more charisma than the lead, which takes us to a major problem. Other than the basic sympathetic fear of brutal mutilation we share with most humans, you feel nothing for anyone, most especially Naomi Watts. I don’t where all this praise is coming from for her performance, but almost all of her screen time is spent looking up at Kong, with varying degrees of awe and terror. Big deal. She provides no reason to like her, Ann is pretty and dumb. I hate to say it, but how about a little more moxie. She doesn’t need to be toting a tommy-gun, but this Ann Darrow is a damsel in distress and nothing more.

The only character to care about in the whole show is clearly Kong, and that is what Jackson devotes everything to. Jackson is obsessed with Kong as a character and his execution in every way. Kong is King of this show, but he’s not Dracula folks, you can’t spend this much time on a giant gorilla and have it be interesting. You like Kong and want him to destroy everyone, especially in the end, and Jackson seems content with this, problem is, our hero dies, and once again this isn’t Hamlet, so what is the point of this journey. Literally a three hour carnival sideshow?- No thanks.

I have no problem with killing off movie-heroes, in fact I support that, it’s a brave choice in a film, if warranted. You know from imagery already ingrained in pop-culture for 72 years that Kong is going to die, and everyone is going to do him harm, so in some way, surprisingly it feels like Gibson’s PASSION OF THE CHRIST, especially the last 45 minutes, only here Christ kicks some major Roman ass before kicking the bucket.

Now, of course the special effects are amazing and Kong is riveting, which makes you forget all of the movie’s other faults piling up until after the movie. This is by far the most jaw-dropping, flawless effects work I have ever seen. Kong looks 100% real. The animators and Serkis did an incredible job with Kong, his performance, like Gollum’s in LOTR, is the most natural and nuanced of the whole cast. I would dare to say Kong is an even better performance than Gollum since the ape can’t speak and only emote.

The action scenes are equally amazing. The middle hour is solid thrills. Which would, however, be so much more grand if you cared about anyone and if they were handled a little more realistically. People are either killed instantly, squashed into oblivion, or bounced around like they were related to Gumby. No scratches or broken bones. Dead or perfectly fine.

The music is probably the weakest part of this film. Forgettable in every sense. I don’t know what Howard Shore’s sounded like (he makes a cameo appearance as a conductor – and the music they supply is better suited), maybe on the four hour extended DVD we’ll get to hear, but I will bet it was so much better than this stock-score that James Newton Howard supplied (two month deadline or not). James Horner would perhaps been a better choice, he’s notorious for working under such deadlines (WRATH OF KHAN). Even Horner repeating himself in the worst way would have been better. Elfman churning out his most basic, signature work would have been better. This is nothing. No theme, no bravura, nothing.

Every year there are a couple films that get vastly overrated. I think out of hype and appreciation for breaking the glut of crap, anything remotely good is put up on a pedestal. Critics are letting Jackson coast on LOTR good cheer. Don’t get me wrong, I love the LOTR films and was looking forward to this as the savior of the year, especially after a painfully rote NARNIA and a boring POTTER, but KONG is not a relief, it is just as problematic as the rest. Hollywood has finally infected Jackson, the lone wolf has been caged.

He has definitely become a master in technical ability, perhaps surpassing Cameron, Lucas, and Spielberg, but he handles everything with a sledgehammer. Spielberg is a master manipulator and knows what strings to pull and how to pull them without you knowing. Jackson doesn’t know how to manipulate, he just knows how to thrill, blind roller coaster thrills. Thrills without investment in the characters is hollow, like a theme park ride. Roller coasters don’t pretend to be LAWRENCE OF ARABIA. KONG is not Roland Emmerich’s I-want-everyone-to-just-die type of hollow, but almost as ineffective. Perhaps this just shows how much LORD OF THE RINGS was source material, or maybe Jackson just chose the wrong movie to remake.

Still, KONG must been seen by any blockbuster fan, and seen in the theaters for proper affect. The island set pieces alone are an argument for $9.50 ticket prices. Jackson put Lucas to shame with LOTR and here he tried to put Spielberg to shame. He can’t, because Spielberg did it better with JURASSIC PARK twelve years ago, despite my major preference for rampaging Gorillas over rampaging Dinosaurs.

KING KONG (Dennis)

Dennis Daniel — Mon, 05 Dec 2005 14:54:56 +0000

Universal Pictures / A Wingnut Films production
MPAA rating PG-13 / Running time 188 minutes

THE ANTICIPATION:
I was talking with my colleague and friend Mark Ross about the disappointing first day box office tally on Peter Jackson’s new remake of KING KONG. Like many, I thought it would turn out to be #1 or at least #2 of all time. After all, the buzz was astonishing! All over the Internet I was reading about how wonderful the film was and how big it was going to be! The next TITANIC! The trailer and scenes that have been posted, along with all the hype and history about the production on kongisking.net had Mark and I salivating in eager anticipation! We knew it was going to be a history-making-blockbuster-first-day-of-release-cash-cow.

Not so.

It ranks #21 on the all time list…with films like POKEMAN THE MOVIE and MEN IN BLACK II beating it out! I was quite astonished by this. Not Mark. He said, “Well, I don’t find that to be so strange. After all, anyone under 40 probably doesn’t care as much about the film as we do. We grew up with it.” What he said really made me think, “Geez, how true! And…how sad.” That means that the original 1933 film is slowly sinking into the cultural abyss. A place where it won’t be held with the same reverence by the same number of people.

Link here to see the overall first day take and list rating: http://www.boxofficemojo.com/alltime/days/?page=wed&p=.htm

When I was a youngster, back in the days when there were only 8 TV channels, the 1933 KING KONG was a staple of the holiday season, New York’s channel 9 used to run KING KONG every Thanksgiving, along with SON OF KONG and MIGHTY JOE YOUNG. It was the major reason why I loved Thanksgiving!!! These movies were ingrained into my DNA. There was even a glorious time when Channel 9’s Million Dollar Movie would run KING KONG at the same time, 5 days a week! Let’s face it; KING KONG was an annual event…a monumental moment of epic bliss. I also was in love with Fay Wray. She was hot, bro! To this day, the scene where KONG peels off her clothes and smells his finger is quite the turn on. The helpless white woman in the clutches of the monster! It still gives me wood.

Most important of all, it was scary. Honest. The black and white cinematography, the jungle, the monsters, the death and destruction…all heavy stuff. The special effects were, in a word, “charming.” I mean, we all knew it was a stop motion animated ape, but Willis O’Brien gave him life, character and depth.

Mark and I work at an advertising agency in New York. We are media junkies. We are also huge film fanatics, with KONG being at the top of the list. Our coworkers have become sick and tired of us talking about it! Our offices are filled with posters, models…even our desktops and screensavers are all about KONG. The trailers and photos for the new film gave us chills. I actually wept when I saw the shot of KONG jumping up and knocking the shit out of one of the planes. Man oh man…we couldn’t WAIT to see what Peter Jackson was going to do! It was a no-lose scenario! He was turned on to the film as a child like we were. He was going to maintain its reverence, time period and philosophy. He was going to update it without ruining it (like Dino did with his remake…Jessica Lange not withstanding.)

I dug into the first few reviews that were posted online two days before the official release. Most critics simply adored it. In fact, it received the most universal praise I’ve seen in a long time. Except for some gripes about the length, all looked well.

I actually took a half-day off to make sure I was able to see KING KONG on its first day of release without having to wait on long lines. I bought my ticket online to make double sure I got a seat. The night before the glorious day I could hardly sleep with the excitement churning inside me.

Then…there I was. In my seat…dead center, half way up from the screen. The theater was only half full, since it was a workday and 11AM. No crying kids. No crowd of idiots talking loudly as if they were in their living rooms. It could not be more perfect. I was in heaven! Bring on the ape!

THE REVIEW:
Rather than give a story synopsis that is familiar to all, I will concentrate on elements.

From the moment the credits begin, with their overall sense of 1930’s graphic design and kitsch, it is very apparent that Peter Jackson’s remake of KING KONG is going to treat its time period, setting and familiar storyline with reverence and respect, as well as a heartfelt belief in the magical wonders of the cinema.

The recreation of 1930’s New York is dead on, from the Hobo shantytowns, to the period clothing, to the language cadences of the time. In an effort to update the storyline while still maintaining respect for its familiar themes and history, Jackson chose to elaborate on the background of his characters. Ann Darrow is now a vaudevillian hoofer who has fallen on hard times. As played by Naomi Watts, she is the beautiful heart of the film and her performance is top notch, moving and believable. Yes…even within the midst of this cockamamie story…SHE is BELIEVABLE.

Carl Denham is still the megalomaniac movie producer/director of the original, but his motivations have become a bit more sleazy and egotistically self-centered. There’s a touch of Orson Welles in actor Jack Black’s eyes. Point of fact, I couldn’t really buy Jack Black as Carl Denham. He just felt miscast. Not that I don’t like Black…he can be quite engaging and hysterically funny in the right role. But Carl Denham he is not. He waters down the fire and machismo that Robert Armstrong brought to the 1933 version of the role and comes off as a bit of a fat creep.

Jack Driscoll has been upgraded from a first mate to a playwright (a la Eugene O’Neill) who is ship-napped by Denham so he can help write the screenplay as it happens during the adventure. As played by Adrian Brody, he is kinda foppish and doesn’t really have much to do but give Ann goo-goo eyes and always show up too late to save her.

Where I believe Jackson made a mistake is introducing other characters and plot elements that do nothing but slow down the first hour of the film. These include a father-figure type character to Ann that is neither explained, nor further developed after his initial appearance. A relationship between a sailor and a young boy is also introduced in an effort to make you care more about these shipmate characters destined to become dinosaur munchies, bug feces, etc. The sailor (who also happens to be an African-American) has taken this boy under his wing to teach him the wonders of literature (he has him reading Joseph Conrad’s Heart Of Darkness), which allows for bravery and courage metaphors galore when they arrive on the island.

I can’t help but wonder…did Jackson give this black sailor such cultural depth and intelligence to negate the stereotypes of the black man from that period in film history…not to mention an attempt to dilute that other tired old metaphor about KONG being a symbolic representation of the black who was stolen from his native land, put in chains and sold to slavery and torture? And let’s not even get into all that stuff about the black man kidnapping the lily-white woman, etc. etc. All I know is…it didn’t work, slowed things down, and was unnecessary.

Which brings us to KONG.

Mere words cannot describe the awe and majesty this CGI created giant gorilla encompasses. As digitally played by Andy Serkis, KONG is a revelation! For a creature that doesn’t even exist except in a computer, he has tremendous warmth, rage and…dare I say it…humanity. He is simply the most astonishing artificial creation I have ever seen in the cinema. Jackson pulled no punches and pulled out all the stops to create a KING KONG that is magical, believable and heartbreaking. From the moment he enters the screen, to his horrible death atop the Empire State Building, we are totally with him as a character and doomed figure. It is here that Jackson has performed a cinematic miracle. The team at WETA, Jackson’s FX Company, has done more than just create a KING KONG for the 21st Century, they have literally played GOD! KONG is REAL! 100% REAL! In every way imaginable. You BELIEVE. Regardless of the fact that no such creature has ever existed, you find yourself so totally enraptured by his presence and visual reality, that you become lost in it. What a tremendous feat of moviemaking! To create something so beautiful, so detailed, so utterly real, that you don’t even think about the fact that he doesn’t exist. HE DOES EXIST! This, combined with Naomi Watts empathy and connection to this non-existent CGI created KONG, make this story the greatest example of the Beauty and the Beast parable that has ever been filmed. The scenes between Ann Darrow and KONG are like watching a silent movie. It is all done through body language, facial expressions and eye contact. (I even read an article where a zoologist who studies apes was totally convinced in the KONG’s artificially created authenticity.)

There are scenes between KONG and Ann that are beautifully corny, yet heartbreaking. I don’t want to spoil it for you…you’ll know what they are.

THE ISLAND SCENES:
The island scenes in the jungle have their positive and negative aspects.

The Negatives: Did we really need a dinosaur stampede, with the giant behemoths falling all over each other in huge piles so fast and furious I couldn’t get focused on how they really looked? I know that Jackson wants to take out his paint box and dazzle the shit out of us, but sometimes it gets to be a bit too much! After going through so much to establish KONG’s believability as a character, he killed some of that credibility because NO ONE would have been able to survive being in the middle of a brontosaurus stampede, with a bunch of carnivorous dinos thrown in for good measure, snapping and clawing at our helpless heroes. I would have preferred he stuck to the original 1933 idea of running into a variety of dinosaurs, and having just one brontosaurus chasing after the men, both in the raft sequence (not repeated here) and the chase sequence. I know…I know…Jackson is trying to up the ante. Slow down son…we know you can impress us. Too much of a good thing Peter!

The Positives: The entire sequence with the T-Rex’s. Now, it’s not just one, but THREE! And KONG fights them all with Ann in his hand! This scene is just astonishing. I don’t want to give away much. All I can say is, he updates it magnificently in a very unique and believable way.

We also get the scene that was originally cut from the 1933 version where the men are attacked by giant spiders and bugs after being thrown from the log into the ravine.
This scene is truly horrifying and gut wrenching. (SPECIAL NOTE: Jackson’s team also re-created this edited scene for the 1933 version and it can be found in the extras section of the recent DVD release. It is lovingly recreated based on original models and storyboards. A true work of love and respect.)

Oh…and the natives are no longer stereotypical black jungle boogiemen. They are now a frightening clan of zombie-like aborigines. Chill inducing to the bone!

THE NEW YORK CITY STREET SCENES:
It is here where Jackson really shines. 1933 New York is lovingly reproduced, right down to the marquees and lights of Times Square. The scenes of KONG in chains on stage are given an all-new twist that works beautifully. He is a pathetic creature in these scenes…chained and miserable as a vaudeville show is performed in front of him. Jackson pays wonderful homage to the original by having the show be a recreation of the capture and jungle dance scenes from the 1933 film…including the same costumes and Max Steiner score. For those who know and love the 1933 film, it is a true delight.

Once KONG escapes and starts looking for Ann, we are given a spectacle of rage and destruction on the street of New York that is unmatched by any other monster-on-the-rampage-in-a-city film creation. KONG flings cars, destroys buildings, grabs and tosses people with reckless abandon. When he finds Ann, they have moments of tenderness and, believe it or not, fun, that will not leave one dry eye in the house.

And it all leads up to…

THE EMPIRE STATE BUILDING SCENE:
I am at a loss for words to describe how right, how dead on, how magnificent, and how awe-inspiring this…one of the most iconic scenes in all of cinema…is recreated by Jackson. As I’ve mentioned before in this critique…it is 100% REAL. Jackson elongates the scene to give us every angle, every situation, every nuance we could ever ask for in this last moment on earth for KONG. I was totally captivated, mouth agape. I kept thinking,”I’m so lucky to be alive. To be able to sit here, in this theater, and see how this master craftsman has re-created this pinnacle moment in film history, giving it new life and depth and meaning.” It is the crowning achievement of the film and one of the most breathtaking, heartbreaking, amazing scenes I’ve ever seen put to film. You are THERE…at the top of the Empire State Building, with a giant ape fighting off biplanes. From every angle and point of reference, you are given a visual delight that is both beautiful and horrifyingly sad.

Peter Jackson’s KING KONG is the work of a man who is paying loving tribute to a film he loves, taking his audience along for the homage. If you loved the 1933 original, you’ll respect his efforts. For those who don’t hold the original film in any particular regard, you will just enjoy a great movie experience.

Flawed but still fabulous, this KING KONG is truly a wonder of the cinematic world.

KONGAHOLICS, Mark Ross & Dennis Daniel. Photo taken by Adam DiLernia

MARK ROSS, Dennis Daniel’s friend, chimes in….

I agree about Jack Black’s character. But all Jackson had to do about this
“fat creep” was have him in tears at the ending with realization that his
own self-destructive persona killed the most marvelous thing mankind had
ever seen.

The young boy and other characters on the boat would have worked better
had they been shown them in tuxedos at the introduction of Kong to the NYC audience.

Musical score. Coming out of the silent film era, there was more reliance on
music to support the imagery rather than sound effects. The original score,
especially at the ending, was much more dramatic and plot-enhancing, right
down to Kong’s landing on the 34th street.

King Kong is a baby-boomer infatuation. Given the current technologies of
1933, right through the 50′s and 60′s and 70′s when we watched Kong every
Thanksgiving, the stop animation worked, it WAS believable. This summer when I forced my sons (David and Daniel) to watch Kong one night in Montauk Point, they would laugh at the original versionwhen the crew fell into the ravine and bounce like Raggedy-Ann dolls, or when Kong fell and bounced several times off the ledges of the Empire State Building. I must agree, this could have been handled better. Recently, when I asked to see how excited they were to see Jackson’s version, they were disinterested. OUCH. “We don’t want to see a gorilla movie”, they said. OUCH. “But Jackson did this one, I said, hoping to win them over. “SOOOO?” they said. OUCH. With that, I fell off the Empire State Building. Fact is , I know when they see this version, they will thoroughly enjoy it. But it is unlikely they will give me the satisfaction of saying so. After all, teenage boys love not liking what their fathers like. It goes with the territory.

I am sure Jackson attempted to rectify a couple of mankind’s darkest moments. One being slavery. Having an African-American ship-mate who is well read mentoring a young white boy is a clear attempt to kill off an unacceptable part of human history which was symbolically documented in the original. Additionally, having Jack Driscoll become a sensitive screen-writer instead of a Bogart like tough guy is clearly an attempt to show that men have changed. (I always thought Kong was an analogy of the machismo in man.) The male lead actor’s role was an attempt to show just how foolish and untrue the tough guy really is further supporting this feeling.

KING KONG (Oren)

Oren Shai — Mon, 05 Dec 2005 14:54:54 +0000

Universal Pictures / A Wingnut Films production
MPAA rating PG-13 / Running time 188 minutes

“Peter Jackson is a great inspiration,” he claimed with pride, “a director who started making Troma-like films and now proved he can make great ones with LORD OF THE RINGS and KING KONG”. These outrageous words came from the mouth of an LA based, indie filmmaker, the type who is stuck doing independent films and strives for mainstream recognition. It proved to me, beyond all doubt, that in Tinsletown, big is beautiful.

I was preparing for a great film. The opening (and the best) scene – a montage of depression-era NY, was beautiful. The cinematography reminded me of Jackson’s early works (pay attention to the crate carrying the DEAD ALIVE Sumerian Monkey-Rat on the boat). And since this is a project he initiated long before his LOTR fame, it was refreshing to see him go back to his roots, although not refreshing enough.

The original KING KONG is not a perfect film, but it’s an extraordinary one that still stands out, more than 70 years later, as a remarkable achievement. The new KING KONG offers very few updates on the first: Jack Driscoll (Brody) became the film-within-the-film’s writer and unlike his tough persona in the original, to fit modern times (although the film still takes place in 1933), he is a sensitive writer. Carl Denham (Black) in now a renegade filmmaker-on-the-run, and a few new characters are introduced for additional drama.

Of the actors, two really stand out: Naomi Watts as Ann Darrow and Kong as himself. In fact, their scenes together are the only aspect of the film that surpasses the original. Watts is so good; the thought that she was not really standing in front of a giant ape is nothing less than shocking. Her Ann Darrow is intriguing – an emotional wreck in a tough shell. Did I mention how beautiful she was? Kong is an incredible CGI creation. Last time we were treated to such was… well… Gollum in LOTR. If this is all Andy Serkis is (who acted as both Kong and Gollum) doing, than he deserves more credit than he is getting.

While in the original film Kong and Darrow share a one sided relationship – he grabs her and she screams – the new version offers an interesting affair between two outcasts: She – a struggling actress, trying to survive the depression. He – the only survivor of his species, fighting to dominate a prehistoric world. The two share a bond that is bound for disaster. And disaster it shall bring. This relationship overshadows any attempt to create a compelling one between Darrow and her dream-guy, the writer, Jack Driscoll. Which ends up feeling forced and anti-climatic.

“It wasn’t the airplanes. It was beauty killed the beast”. The first time I heard these words, coming from (Robert Armstrong’s) Denham as he stands next to Kong’s dead body, I was moved to tears – I was also naïve enough to believe Denham had a shred of sincerity in him. When I heard Jack Black say the same line, I didn’t buy it for a second – as good as he was, lightning didn’t strike twice. I’m a great guy myself, but if you hear me repeat a joke you heard George Carlin tell, I doubt you’ll laugh. That smile on your face would be remembering how Carlin told it.

Jackson truly loves and adores the original film, he created the most respectful and faithful remake in recent memory – to the level that almost every scene form the original exists in the remake. The idea was to expose the children of today, who are not going to sit through a black and white film, to the great story he grew up on. He felt the 1933 film didn’t need much updating and made a very similar one. But the original has more than a great story going for it. The excitement and magic it brings derive from its groundbreaking effects, ideas and craftsmanship (and yes, Fay Wray). Even though they may seem amateurish by today’s standards, they are full of soul. The remake features some of the best CGI work I’ve seen, but in our age this happens 4-5 times a year. There is nothing breathtaking and surprising with CGI anymore since we’ve learned to expect it. Quite frankly, it just seems hollow. As amazing as Kong is, he only works because Naomi Watts is next to him. The best counter-point would be JURASSIC PARK, 13 years after it was made, it still features the best looking dinosaurs to ever grace the screen and will forever be engraved in the minds of children who watched it during its initial theatrical run.

Big can be beautiful, but it’s mainly big. KING KONG, for the lack of a better definition, felt synthetic.

Some classics should stay classic. I can understand the will of a filmmaker to remake his favorite films, it’s an egotistical quality I believe most filmmakers share. If common sense fails me, I would be first in line to re-do Russ Meyer’s MUDHONEY, but until then you can find it at your video store, in black & white, under “M”.

KING KONG (Victoria)

Victoria Alexander — Mon, 05 Dec 2005 14:53:47 +0000

Universal Pictures / A Wingnut Films production
MPAA rating PG-13 / Running time 188 minutes

QUOTE: The first hour is a bore but a necessary gift to Watts. Each remaining frame is awesome, though I could have done without Beauty’s version of a simian lap dance.

I was in the untainted Kingdom of Bhutan for the opening of KING KONG and got my first critique from New Delhi chocolatier Jyoti Agarwal’s 15 year old son Tejai. They had seen the movie together. Jyoti kept saying she didn’t understand why Kong didn’t eat his victim Ann Darrow (Naomi Watts). Tejai had a definitive reply to his mother’s frequent question.

“Because she was a white woman!”

While Jyoti kept dismissing her son’s response, I had to keep instigating the dinner repartee: “So KING KONG is really a racist movie!”

Jyoti had not seen the original 1933 classic KING KONG by Merian C. Cooper and Ernest B. Schoedsack. Why, Jyoti asked, was the girl kidnapped by the natives in the first place? I can answer Jyoti’s question now that I have seen the movie: The tribe had an alliance with Kong. They offered him frequent human sacrifices for (a) protection against other predators, or (b) as a form of idol worship. Like the essential part of Aztec culture, with a daily human sacrifice, “the sun would stay in constant and beneficent motion across the Aztec sky, bringing fertility to crops and men alike.”* (At the time of the Aztec harvest festival a female victim was flayed and her skin brought ceremonially to the temple. The skin was worn by the officiating priest.)

Thankfully screenwriters Fran Walsh, Philippa Boyens, and Peter Jackson do not bother with Kong exposition. There is no APOCALYPSE NOW nutty photojournalist to explain the backstory to us. But we do spend the first hour plowing through The Great Depression and how hungry Ann is.

This sweet, young vaudevillian hoofer is starving. She stares at people eating. She steals an apple. She is one hour away from selling matches. While beautiful and marginally talented, Ann has no family or friends. Out of work, when a producer suggests she do something rather unsavory, she declines. She’d rather go hungry. This boring first hour is a necessary gift to Watts, who must just scream and look terrified when the story moves to Skull Island. Unfortunately, naïve Ann doesn’t exhibit a hint of the kind of edge and smarts needed to seduce Kong and survive in a jungle filled with predatory dinosaurs.

Maybe Ann makes it because she is a “white woman.”

Ann’s luck changes when she meets producer-director Carl Denham (Jack Black). We continue to slog around Denham’s story of fighting with his film backers, losing his star, and his maneuvers to get to a South Pacific island he inexplicably has found a secret map for. Denham offers Ann an acting job in a movie, money, and food. She hesitates but finally takes the fatal step on board the junk steamer! What has really enchanted Ann is the fact that famous playwright Jack Driscoll (Adrien Brody) has written the script.

But, to Denham’s dismay, Driscoll has only written 15 pages, so Denham “kidnaps” him to sail away with the crew. The only place for Driscoll to write the script is in an empty cage next to the streamer’s cargo of wild animals. So that’s what Hollywood does with writers!

By the way, why is Jack Driscoll even in KING KONG? It’s not as if he was Kong’s rival.

Showing more animal magnetism than Kong is the ship’s Capt. Englehorn (Thomas Kretschmann). I could have done without overly enthusiastic crewman Jimmy (Jamie Bell), and there was just too much Denham for my taste in drama. The entire crew and Driscoll are underdeveloped. (Didn’t any of them see APOCALYPSE NOW? Never leave the boat!) But the lull is just Peter Jackson building tension and anticipation while trying to create chemistry between Ann and Driscoll.

Jackson creates a foggy, creepy landscape as the ship finally uncovers the mysterious Skull Island and its fabulous flipped-out natives. And then the film really takes off when its star, King Kong, turns up. He’s mean.

Kong accepts his sacrificial victim, but for some reason he takes a liking to his little doll. He playfully throws her around. It reminded me of that famous ape and her beloved kitten. But Ann wants to get free of Kong, even though she soon figures out that he has taken a liking to her. She has found her protector. They gaze at a sunset together. Ann sees the loneliness in the Ape Without A Mate. But instead of seeing herself as Queen of the Jungle, Ann wants to go home to homelessness.

Capt. Englehorn captures Kong and somehow everyone reaches New York City. What a trip home that must have been! Denham, finding a SoHo loft big enough to house Kong, plans a big opening night exhibit with Ann as Kong’s pay-girlfriend. You know what happens. It does not disappoint. In fact, the bar for big finishes has been re-set once again by Jackson.

Okay, the ice scene was limp. Ann didn’t once groom Kong. What did he ever see in her?

Maybe it was because she was a “white woman.”

Director Peter Jackson has made another classic thanks to his superior CGI team and his announced demand for excess. KING KONG dazzles with technical superiority. I could not believe the glorious dinosaur stampede. It looked damn real to me. I especially liked the fact that Kong never smiled or looked cute. I was worried. Weren’t you?

I was not put off by the long running time – it’s a spectacle after all! – until I sat and watched poor people waiting on a soup line and Ann’s painful stab at a career as a comedy star. (Watts is one film away from looking exactly like her best pal Nicole Kidman.) My advice would have been to cut that first hour out and start the film with the ship approaching Skull Island.

*From “Cannibalism and Human Sacrifice” by Garry Hogg.

YOU OUGHT TO BE ON VIDEO

Glenn Andreiev — Wed, 02 Jan 2002 10:28:32 +0000

Every so often, I’m going to feature an article on films that have never seen a video release, and therefore have become unavailable to the public. I feel all these films are either highly entertaining or historically important, and should not be hidden in the dark. Some of them have either slipped into public domain, or worse yet, are owned by companies who feel there isn’t a strong enough market. If you feel there is a film that has fallen into this sad fate, please e-mail me at Gandreiev@aol.com, and I will try to include it in future issues

THE MAN WHO LAUGHS

I can safely say this is the best silent horror movie. Paul Leni’s lavish 1928 production about an exiled 18th century lord whose mouth was carved into a monstrous grin during childhood still issues quite an emotional impact on it’s audience. It has it all, horror, pathos, romance, and sensuality. Conrad Veidt stars in the title role, and while his mouth is fixed in that awful smile, he conveys enormous emotion through his eyes, hands, and shoulder gestures.

The incredible period costumes and sets help make it a perfect cinematic fairy tale. Brandon Hurst and Olga Baclanova (the evil trapeze woman from Freaks) are the wicked, castle dwelling villains (note: Miss Baclanova graces the film with a hot, sexy performance). Mary Philbin (the mask-puller from The Phantom Of The Opera) is sweetness personified as Veidt’s wholesome, but totally blind love interest.

Universal produced The Man Who Laughs, a terrific dress rehearsal for their upcoming sound horror classics. Occasional bootleg companies come and go with okay video releases of this film, but Universal never released their prized silent on video. I had the good fortune of catching a screening of The Man Who Laughs at the 1999 New York Film Festival. It was one of my few overwhelming movie-going experiences in the past few years.

JUST IMAGINE

Picture a very strange, amazingly corny ‘Cracked Magazine’ spoof of Fritz Lang’s Metropolis, and you have Just Imagine, a wild science fiction musical comedy made in 1930. The film imagines what New York would be like in 1980. The Big Apple is pictured as being all glass art deco, with mini-rockets replacing cars, and a government that tells people whom you should marry. Just Imagine was made during Prohibition and before the strict Hays Office clamped down with film censorship. This film is jam packed with drinking jokes and naughty bits. (Examples: A trip to Mars proves Martian women love to drink. A musical number danced by a woman practically falling out of her flimsy dress ends with a shot of mating houseflies!) This out-of-its-mind classic remains almost unseen today. It stars the dreadfully unfunny El Brendel (doing his signature Swede imitation) and a very young Maureen O’Sullivan.

LILIOM

Late in 1933, Germany’s greatest film-maker, Fritz Lang, fled Germany and the Nazi regime. He re-located in Paris, which proved to be a pit stop for other refugee German film-makers and actors such as Billy Wilder, Douglas Sirk, Oscar Homolka, Franz Waxman, and Peter Lorre. During his short stay in Paris, Lang made a film for Fox Europa Studios, an adaptation of Fernac Molnar’s fantasy/romance – Liliom. (Liliom was later the basis for the musical Carousel)

This fun little fantasy centers on Liliom, a charming but sometimes brutal Parisian cad (played with energy by up-and-coming Charles Boyer.) He dies during a battle with police and is sent to a mistake-prone bureaucratic Heaven with angelic clerks, courts etc. The Heavenly court allows Liliom to briefly return to the wife and daughter he left behind on Earth.

Liliom has never been released in the United States. It very rarely plays in film festivals. Lang had a print of the film, and screened it a few times for friends in the 20th Century Fox Projection Room. “Liliom I liked very much” he said during a lecture at the American Film Institute in 1974 “I like Liliom almost best of all my films.”

THE PRISONER OF SHARK ISLAND

On a pre-dawn morning in April 1865, Dr. Samuel Mudd put a splint on a traveling stranger’s broken leg. That stranger turned out to be John Wilkes Booth. This chance encounter caused Dr. Mudd to be convicted as a conspirator in the assassination of President Lincoln. Dr. Mudd was given a life sentence at Dry Tortogas, a hell-on-earth military prison off the Florida coast.

John Ford’s suspenseful 1936 film version of Dr. Mudd’s plight, The Prisoner Of Shark Island, has to be one of the first films to question our Government’s ethics (the Kangaroo court that unjustly imprisoned Mudd.) His film is wonderfully researched, with accurate, ironic details (such as the soldier who held a parasol over Booth accomplice Mary Surrat, to protect her head from the sun on the way to her hanging!)

What also drives the film are the incredible performances. Warner Baxter is excellent as Dr. Mudd and Gloria Stuart (60 years before appearing in Titanic) plays his wife. The real scene-stealer is young John Carradine as a mentally twisted prison guard who idolized Lincoln. Whenever he has to punish Dr. Mudd, his eyes look as if they become satanic high beams! No wonder Ford used him so often in future films.

THE BIG CARNIVAL

Billy Wilder calls The Big Carnival, his 1951 cinematic expose on journalism, his “runt of my litter”. This “runt” showed such a dark, acidic side of human nature, audiences stayed away. In one of his best performances, Kirk Douglas stars as slick, urbane reporter Chuck Tatum. Tatum and his protégé photographer stumble upon a disaster out in the middle of New Mexico. A mine collapsed on a lone man deep in a cave. Local engineers figure he can be dug out within the day, but Tatum talks them into a “safer”, more time consuming rescue plan. This is to simply allow Tatum a few days to milk this story for all it’s worth, have it become a national sensation, and win him the Pulitzer Prize for journalism. “I always waited for my time up at bat” Tatum tells a crooked sheriff “And now I just hit a home run… out of the ballpark!” Throughout the film, none of the lead characters seem to care about anyone else. They all figure how they can profit from the trapped miner’s dilemma. This includes Tatum, the trapped man’s floozy wife, and the sheriff. Towards the end of this true classic, Tatum gets a faint spark of humanity, but it’s way too late.

KING KONG ESCAPES

This 1967 Japanese/US co-production is basically what a James Bond film would look like had it been written by an four year old. Japanese monster film-maker Inoshiro Honda combined his formula of Tokyo demolishing monsters with the then popular James Bond style spy movie. Criminal mastermind Doctor Hu (Eisei Amamoto) kidnaps King Kong off his island so Kong can be forced into digging deep in the earth for a rare, powerful metal alloy! Hu has built a mechanical Kong that looks like the flesh and blood Kong. At the end the two Kongs have an amazingly thrilling battle atop Tokyo Tower.

You know Honda meant this film to be fun, a kiddie matinee film in high gear. The dialog is at times, priceless (Example: A Kong Isle native describes Hu as “A devil with the eyes of a gutter rat.”) One time Bond girl Mie Hama is the alluring femme fatale. American Rhodes Reason and Japanese monster flick regular Akira Takarada fill in Sean Connery’s shoes. (Reason commented on how he was treated like visiting royalty working on this Tokyo based shoot. A dozen crew people were on his staff, and his dressing room at Toho Studios spanned half a floor!) Kong sized fun with this movie!

DARKER THAN AMBER

Rod Taylor stars here as Travis McGee, author John McDonald’s rugged, Southern private eye. Trouble begins after McGee rescues a beautiful young girl (Suzy Kendall) from a murderous brute (William Smith). Smith, (memorable as tough bad guys in Rich Man-Poor Man, Red Dawn, and a slew of sixties biker movies), electrifies the screen in his search for Kendall. Those who stand in his way are met with frightening violence (The most harrowing is the scene where Smith corners a kindly banjo playing ol’ timer.)

When Smith finally encounters McGee, one of the wildest fist fights in film history begins. The fight was so brutal, that both Taylor and Smith wound up with real-life gruesome injuries. Darker Than Amber‘s seldom TV appearances are marred by the fight scene being censored and chopped down. Video Search Of Miami is one of the few, and maybe the only video company to carry an uncut version of this 1970 sleeper.