We've had lots of discussion here at SDP regarding King Kong. I'm about to incite even more.
I haven't seen the movie and don't really intend to. However, I believe that Ron Briley, Assistant Headmaster at Sandia Preparatory School, is taking his view of King Kong a little too far:
Jackson’s King Kong, unlike the 1973 remake and various low budget cinematic reincarnations of the giant ape, is an attempt to do a faithful adaptation of the 1933 classic film; albeit with the flash of computer technology and contemporary special effects. Like his lavish Lord of the Rings trilogy, Jackson’s King Kong is an entertaining film, but what is perhaps most interesting about the continuing cultural fascination with the giant ape from Skull Island is how the legend of King Kong plays upon the racial insecurities of white Americans.
Kong represents both the brutality and nobility of the savage, while blond Ann Darrow (with Naomi Watts reprising the role played by Fay Wray in the original) as Kong’s captive symbolizes both the purity and vulnerability of white civilization. The mythology of King Kong draws much of its power from the contrast between Kong’s blackness and Darrow’s whiteness. Darrow is both repelled and attracted to the primitive Kong. The sexual ambiguity is titillating, but in the final analysis whiteness and civilization must be rescued by an appropriate white savior (in Kong this role is played by Adrian Brody as the writer Jack Driscoll) to remove the threat of miscegenation posed by Kong. It is no wonder that the 1933 version of Kong was reportedly Adolph Hitler’s favorite film and played into his racial theories outlined in Mien Kampf. The cultural appeal of Kong to Americans, however, probably resonates best with the history of race relations between white settlers and Native Americans as well as black and white Americans dating back to the brutal institution of slavery. These images of conflict are, of course, also apparent for the threat to white culture posed by the Asian and Latino “other.”
...
It is within this cultural context of racial relations and captivity narratives that we must place the powerful mythology of King Kong. Jackson attempts to offset the racial implications of the story by introducing a heroic black sailor Hayes (Evan Park), who is paternalistic in his caring for the young white Jeremy (Jaimie Bell) rather than sexually aggressive toward Darrow. Nevertheless, the natives of Skull Island, which is supposedly located near Sumatra, still tend to resemble the stereotypical Africans of an old Tarzan film, and they seem to enjoy placing the helpless young blond woman in bondage. Peter Jackson’s film is an entertaining high-tech action picture, but it is well worth remembering the powerful and dangerous cultural myths which have clouded our history and are embodied in the legend of King Kong.
I tend to agree with two comments left by the readers. The first:
It's merely a movie about a giant pretend gorilla and makes no statement about anything, no more and no less meaningful than the cartoons children watch on television. It's purely and simply a money maker for the producers and actors. Did the first movie, in the early 1930s, draw comparisons to the culture of those years, did it just scare the audience or were they titilated, as the author suggests, by the possibility a pretend gorilla and blonde beauty might become a romantic couple? Why does every stupid movie need a message or a meaning?
And in response:
This so-called "context of racial relations" is just another attempt to exploit guilt. Briley's obsession with race runs counter to old issues many - white and black - would like to just forget about.
What do you think?
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