The film king kong which is directed by Peter Jackson, the director of the lord of the ring is one of the masterpiece that tends to bring on board a peculiar relationship between a gigantic being “king kong” and a beautiful lady “Ann”. The creation of the movie takes an unprecedented approach where it brings on board the blending of the two worlds where difference creatures live. The peaceful coexistence created out of pure love and affection between individuals gives the movie an impression that peace creates high level of understanding (Woods, 22). The colorful background created in the film provides grounds for blissful pictorial composition and the lightings which are quite evocative.
There are two main reasons why king kong stands out to be one of the best adventurous film. One of them is the fact that the film contains high level of stop motion photography which is deemed to be a state-of-art that is predicted to remain intact for decades (Lummis, 54). The stop motion photography gives the film its authenticity and creates the whole context of a world which can be controlled by the forces of nature. In this prospect, it only means that the movie maker had the intention of creating a long term movie that would indeed be remembered for decades before becoming obsolete (as depicted in matrix revolution). The second most important reason for the stand out is the fact that this movie gives an account on one of the most thrilling adventurous story in the history of film industry. The role played by the king kong as the formidable dinosaur gives the film a shift of turn of events where we are given the perfect blend between the real world and the skull island (Fiscus, 132).
A closer look at the preliminary scenes of the movie, it does not seem to be quite perfect since the adventure had not come into play. In the initial stages Fay Wray who plays the role of Ann is not given much imminence and at that time she spend more time feeling distressed and with lack of enthusiasm in her. Before the journey into the skull island, the whole context of the movie is quite creaky in most cases where Ann plays the roles of distressed girl in the real world (Erb, 121). This point shows a potential weakness of the movie with keen concern on the dialect and the captivation stance of the whole context of the film. However, Jackson turns the film into a thrilling one at the point where the distressed damsel travels into the skull island (Lummis, 84). At this point, the weakness of the movie is made insignificant since the director allows us to experience the adventurous journey that the actors take in the land of uncharted territory. At this juncture, the movie maker is keen to tune into our mind that in this land anything can exist and any situation can be experience and this create a helm of suspense to the audience which makes the whole context quite captivating. The only limits to what is to occur in this skull island are our imagination on how it could be (Woods, 112).
In making this movie Jackson might have noticed the immense impact that a female character could have brought into the film. The creation of the girl – ape relationship in its strict sense gives the film a weird authenticity and outlook that captures the attention of the audience. This relationship undercuts the notion of sexual relationship but gives much attention to the affection that is earned out of respect and peaceful coexistence (Fiscus, 112). The benevolent heart exhibited by the gigantic king kong who tends to offer high level of protection to Ann is depiction of existence of a perfect relationship with no sexual urges. The unleashing of the computerized effect is an attempt to update the movie made by Dino De Laurentiis (Erb, 111). The inception of the relationship between the ape and the girl provided grounds for which Jackson evaded the whole context of pitfalls experienced by Laurentiis. This inception also brings on board the advent of grate fondness and high level of complexity that respectfully creates high level of adaptation for the whole storyline of the movie. Most perceptibly the brilliant Ann Darrow is no shriek queen. She’s a lady of strength and truthfulness (Woods, 172).
In the film’s opening scenes, Ann is reduced to flinch an apple from a crop stand, however here Jackson exuberates pains to initiate us to her immediate state of affairs: she’s a performer and vaudeville artiste who has not had a proper meal in a number of days. Out of job, she almost turns to the globe of lampoon as a means of subsistence, nevertheless we see her decline this likelihood (as she rumples the business card of the theater producer who suggested this career transformation) (Lummis, 114). Most considerably, though, Ann’s affiliation with Kong is given much superior depth. She isn’t precisely happy about being flanked by the hairy monster; however she soon discovers that on Skull isle she has no superior protector than this monster friend. And with that acquaintance, Kong starts to acquire her reverence (Fiscus, 122).
Twist and turn of events given in the play provides the ground for inception of many plots in the story with keen concern on making the whole storyline quite interesting. While Di Laurentiis’ edition focused on accentuating the sexual intricacies to the forefront, Peter Jackson is more interested in the dynamics of the confined/captor affiliation. Ann perceives Kong put his existence on the line numerous times in order to guard her. In the progression, she discovers to not only esteem Kong’s pre-eminent place on the island but also to value him as an insightful creature who can understand beauty where he shares with Ann the sunrise (Erb, 21). He may be a beast, but contrasted to the island’s man-eating dinosaurs; he’s a model of cleverness. His only authentic competition for her compassion is dramatist Jack Driscoll, who guides the effort to locate her after the people of the skull island capture and proffer her as forfeit to Kong. Driscoll is besotted by her prettiness and intelligence, and thus enthusiastically puts his personal life in immediate danger in order to free her. The Ann/Kong affiliation eventually acquires incredible thing analogous to love, at the same time as it avoids intimations of desire (Fiscus, 132). Jackson’s Kong is forlorn for a companion, nevertheless not necessarily a companion. As the film suggests, Kong is probably the last survivor of a variety of giant chimpanzee, and as the marks on his facade and torso confirm, he’s been fending unaccompanied for many days and years of living. The whole context of the film is made proper due to the inception of the skull island and the girl ape relationship that existed in this storyline of the movie (Morton, 198).
Erb, Cynthia M. Tracking King Kong: A Hollywood Icon in World Culture. Detroit: Wayne State University Press, 2009. Print.
Fiscus, James W. Meet King Kong. New York: Rosen Pub. Group, 2005. Print.
Lummis, Michael. Peter Jackson’s King Kong: The Official Game of the Movie. Indianapolis, IN: BradyGames, 2006. Print.
Morton, Ray. King Kong: The History of a Movie Icon from Fay Wray to Peter Jackson. New York: Applause Theatre & Cinema Books, 2005. Print.
Woods, Paul A. King Kong Cometh!: The Evolution of the Great Ape. London: Plexus, 2005. Print.