Kong: Skull Island (2017) is an inferior remake of the original King Kong (1933). True, the action and computer-generated special effects are superior to the original’s stop-action monsters, so those who crave more faux-realism in their movies may disagree with this assessment.
The original wasn’t really that large. Nor was she.
But for those who found the original compelling, it’s mostly about the story. True, the idea of monsters on a faraway island has its charm, but it was really about our interactions with the big ape, and how they contrast. The first is the businessman who makes it his business to capture the great ape for exhibition to the civilized world, a scheme he’s determined to achieved even at the cost of the lives of his men. And then there’s the leading lady, Ann Darrow, who shows gentleness and concern for Kong, and presently becomes Kong’s charm and prize, dragged to the top of a building before Kong suffers his fatal wound and falls to his doom below. Integrated with Kong’s animal rage at his enemies, and then his captors, this combination becomes a roaring commentary of the free enterprise system, where nothing is sacred, not even the biggest ape ever, and everything is reduced to money.
In this latest rendition, the action takes place just as America’s war with Vietnam is coming to an end. Researchers are convinced something is happening on Skull Island, and tell the government that it’s better if they learn first, rather than unnamed enemies. A company of hardened combat veterans are assigned to get the scientists to the island for further investigation.
Penetrating a perpetual storm in their combat helicopters, they soon run into Kong, which makes mince out of their meat. Then it turns into a vengeance and escape tale, as the leader of the Army detachment vows revenge on Kong, while others find the village of natives and a handy World War II survivor, who can translate the story of Kong: the protector of the village against other monsters from yester-era. This second group makes plans to arrive at the pickup point without being picked off by the various dangers stalking the forest.
Although picking does occur.
Naturally, Kong is almost destroyed, which nearly leads to the destruction of the survivors; but it’s really a muddled lesson, depending on the idea that the Army leader is so conditioned by his time in Vietnam that he can no longer exercise good judgment. It’s a reasonable thought.
But we had to reason it out after the movie was over.
And that was the problem. The motivations of the characters are not, for the most part, truly well done. One of the researchers is a Navy vet who saw his ship ripped apart by something, and wants to prove he didn’t make it up. But I’m nearly quoting the movie – it’s just him saying it. It’s not compelling.
Similarly, the leader of the Army detachment projects the excessive testosterone which is de rigeur for that sort of role – but, really, nothing more. No evidence of, say, PTSD, which might explain poor judgment or excessive. Basically, the motivation must be taken on faith – not demonstrated. We’re told, not shown.
And so the movie comes up short. Various elements from the original movie are brought in, but it’s more a game of recognizing them than they being used in an effective manner. Characterization is sketched in, with the exception of Kong himself, who manages some emotion. And I should mention the villagers, who are painted, stone faced people who do little more than menace the survivors once – and, yet, somehow effectively convey their stoic stubbornness in the face of monster attacks which would send most of us off into hysterics. So that’s a point in favor of the movie. Also in the favor of the villagers was a pictorial history they present, cleverly painted on stalagmites, as I recall, and far too short a scene. My Arts Editor was fascinated. So was I.
But, in general, the story is mundane, at least so mundane as being killed by giant spiders can be. There’s a snarky little scene with the World War II survivor, who hasn’t had anyone to really talk to for years and discovers what he has to say is not as effective as he might like, but in general, this doesn’t work nearly as well as the original King Kong.
