BEASTS AND BEAUTIES_cocolin_20

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BEASTS AND BEAUTIES

(2006-02-07 15:51:28)

“King Kong”

I also missed any equivalent to the enchanted-isle graphics of the first movie. But there’s no point, I suppose, in shrouding computer graphics in mist, since we’re paying to see what we cannot see in life. Peter Jackson is a master of brilliantly colored fantasy. His Broadway at night, with square-backed yellow taxis and a thousand bulbs of light, is a slightly cartooned dream of thirties urban life; his jungle landscapes are treacherously lush. The trouble is that Jackson, an exuberant director, fresh from his triumph with the “Lord of the Rings” trilogy, likes to shoot up a storm, and here his exuberance spills over into senselessness. The Depression background, just a few shots in the original, is stretched out here with a montage of shantytowns and strikes; the black “natives” on Skull Island—filthy, grotesque, and vicious—seem like escapees from a sideshow. Both shantytowns and “authentically” starving islanders now seem bizarrely beside the point in what is essentially a delirious pop fantasy. In the original, Kong defends his blonde against dinosaurs on Skull Island for just a couple of scenes, but here the fights go on forever. A herd of monsters panic and race down a narrow canyon, overtaking the ship’s crew, who are running before them. Later, giant cockroaches and face-grabbing worms, and all sorts of other kiddie-show horrors, stop the movie cold. Repeating what Spielberg has already accomplished in the “Jurassic Park” series, Jackson has fallen into a trap. Spectacle must be more and more astonishing or it creates as much boredom as wonder, yet it’s not easy, as filmmakers are finding out, to top what others have done and stay within a disciplined narrative; at any rate, our awareness that so little is staged in real space feeds our impatience. Even children may feel that they’ve seen it all before. This “Kong” is high-powered entertainment, but Jackson pushes too hard and loses momentum over the more than three hours of the movie. The story was always a goofy fable—that was its charm—and a well-told fable knows when to stop.

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