In 1933, Merian Cooper’s original creature feature King Kong turned the whole film industry around. Miniatures each measuring 18 inches high were used as models for the big ape, which towered across screens the world over and launched a new era in filmmaking. A little nine-year-old boy by the name of Peter Jackson would eventually stumble across this black and white classic that would inspire his passion and his talent for the silver screen.

      Now, that boy’s dream has come true. After his cultural phenomenon, the adaptation of J.R.R. Tolkien’s The Lord of the Rings Trilogy, Jackson has solidified his mark in Hollywood as one of the most premiere directors around with his vision of the 8th Wonder of the World,King Kong, which is more than just a technical revamp but also an emotional and lyrical enhancement.

      Shot in New Zealand just as Jackson’s last epic and the current fantasy adventure The Chronicles of Narnia: The Lion, the Witch, and the Wardrobe, Kong is structurally the same as the original, wherein a desperate actress named Ann Darrow (Naomi Watts), in the 1930s depression era, accepts a role from ruthless filmmaker Carl Denham (Jack Black) who intends to shoot on a mythical island by the name of Skull Island, with his crew led by writer Jack Driscoll (Adrien Brody). From there, all hell breaks loose as Kong is released and takes Ann captive, leading to a tragic romance that ends atop the Empire State Building in New York.

      This seemingly simplistic plot is brought to life in a complex array of political criticism and moral dilemma, wholly embodied by the film’s cast led by the poignant performance of Academy Award nominee (21 Grams) Naomi Watts. Her character is the foundation of this film, a tribute to goodness and sincerity, and humanity’s untouched values. Analyzing the movie’s message is subjective, although I would like to point out Kong’s intended or unintended anti-American and anti-Hollywood ideals. Humility and equality are the main themes in Kong that Ann tries to defend against the overwhelming odds of pride and discrimination. American hypocrisy and pretexts are put to the test in the character Carl Denham, played by the witty Jack Black, who offers a satirical glance at America when he brings Kong back to the United States and makes of him a show for all to see.

      “For the price of an admission ticket,” says Denham.

      Academy Award winner (The Pianist ) Adrien Brody on the other hand, plays the idealistic role of Jack Driscoll, who falls in love with Ann over the course of the expedition, and vows to rescue her from the clutches of the giant ape. Providing the motion-capture performance for Kong himself is Andy Serkis, who last awed the world with his groundbreaking role as Gollum in The Lord of the Rings, which he nails flawlessly with every last inch of physical acting and eye movement to bring the legendary monster to life. Serkis and Brody, together with the rest of the strong ensemble, provide the backbone for the three-hour movie, a true test for any filmmaker’s ability to engage and to keep the audience in their seats.

      Weta Digital’s work here on the special effects are astounding and overall reassuring of its eventual fourth Academy Award for Visual Effects after their three-peat for The Lord of the Rings. The fight between Kong and the three V-Rexes particularly highlight their mastery of the art and their unflinching ability to indulge the audience in all of Jackson ’s wildest fetishes, from giant insects to stampeding Brontosauruses.

      When all’s been said and done, the film’s core lies in its heart. The tragic tale ends in a mournful yet uplifting message that Beauty kills the Beast, a testament to the true magnificence of King Kong , an unsettling but wholly stunning romance that will strike chords with everyone.

      Jackson’s Oscar hopes are up for now. As for me, King Kong is seated gracefully atop my Best of 2005, awaiting competition from Steven Spielberg’s Munich, Ang Lee’s Brokeback Mountain, the Johnny Cash biopic Walk The Line, Woody Allen’s comeback drama Match Point, David Cronenberg’s A History of Violence, the racist drama Crash, the political thriller Syriana, and the George Clooney drama Good Night and Good Luck for the coveted Best Picture.

      My Grade: A

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