this is a terrible force

A preview screening of Peter Jackson's film "King Kong" was held at the Horizon cinema.

During yesterday's press screening of King Kong, the audience burst into applause about ten times. We haven't seen such a scary film for a long time. We haven't seen such a funny film for a long time. The lord of cinema, Peter Jackson, directed perhaps one of the most action-packed and colorful films of this year. The director's talent, coupled with computer graphics and a classic film plot, gives a strong result.

About the plot. The new "King Kong" is a remake of the famous 1933 film directed by Merian Cooper and Ernest Schedsack. But there was another film version on the eternal theme of "Beauty and the Beast": John Guillermin's 1976 film. Looking through the world "conginiana", you come to the conclusion that old Darwin was right with his theory of evolution. Over time, the monkey does turn into a human, or at least becomes more humane and sentimental. And man is clearly evolving, becoming kinder or something. In the Greenpeace sense, of course. In the pre-war "King Kong" the monster before us is mischievous, it may love a girl, but somehow it’s very bestial. "It's hard to say what's in his heart." “Not to express,” however, is also difficult - all you have to do is beat yourself in the chest and protect the fragile human being from other people and the dark forces of nature. The only "love" scene is when King Kong clumsily tries to undress his victim, tearing whole pieces off her dress. It is clear that the unfortunate beauty experiences only one feeling - fear. King Kong of the seventies is much more gentle and lyrical. He carefully bathes a girl in a waterfall, admires her and even tries to smile. As a result, the heroine reciprocates: there is gratitude, pity, and even at some point the big monkey’s heart becomes dearer to her than the feelings of a young and courageous scientist, to whom she, by the way, owes her life.

And Peter Jackson has love. When - brutalized (precisely brutalized!) with rage and jealousy, King Kong rushes through the New York streets, destroying everything in his path, and suddenly sees that his only Ann Darrow is coming towards him - in a light dress, on a winter evening, on this At this point, the Welsh fantasy genre gives way to a lyrical love scene: King Kong and his beauty are skating on the ice in Central Park. It's both touching and funny at the same time.

In general, a quick change of genre format is the main technique of Peter Jackson. The beginning of the film - a stylish sketch of the twenties of New York - refers to the poetics of "City Lights"; the team's terrible adventures on the island are reminiscent of "Jurassic Park", and the scene of the dinosaurs' mad flight through a mountain gorge is generally filmed in the style of "Ice Age". The director deftly and with visible pleasure juggles completely different styles, never faltering or losing pace.

The common frame for mind-blowing content is irony. The first shot of the film is of two little monkeys in a poor neighborhood of New York. Last shot: near the body of the defeated monster, Carl Denham, through whose tireless efforts King Kong was transported to the city, says the phrase: “It wasn’t the planes that killed him. It was beauty that killed him.” For those who remember, this is an exact quote from the 1933 film. There it is pronounced seriously and with pathos, but here the hall explodes with laughter.

Although the film is about three hours long, it is watched in one sitting. The aesthetic impression can best be expressed in the words of a proletarian poet who was once amazed by the enormity and beauty of New York: “Yes, King Kong is a thing!”

Still from the film from Kaihoro.de