PICTURE OF THE DAY: GODZILLA (1954)

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godzilla 1954 first appearance

For my money, Godzilla’s first ever appearance on-screen in GODZILLA (1954) as seen in the picture above is hands down one of the scariest moments in the entire Toho Godzilla series.

And that’s because the original 1954 is unlike any of the Godzilla movies to follow it. By far, the deepest, most serious of any Godzilla movie, with Godzilla himself symbolic of the atom bomb which ravaged Japan just nine years earlier, if you have never seen this film, you are missing one of the best giant monster movies ever and one of the few that transcends the genre and works as a tragic drama, a metaphor for the attacks on Hiroshima and Nagasaki.

For years, I had only seen the American version with the Raymond Burr scenes added, which was called GODZILLA- KING OF THE MONSTERS (1956) but even this version is superior to the films which followed it, although the original Japanese version is preferable to the Raymond Burr one.

Anyway, in this first appearance, Godzilla is terribly frightening. I first saw this film on TV when I was probably about 10 years old, and it gave me nightmares for weeks afterwards. I’d hear his thunderous footsteps, his unique roar, and I’d see that massive shape with the jagged teeth looking down upon me.

Scary!

Although Toho primarily used man-in-suit special effects for their Godzilla movies, in this first appearance that’s a puppet being used, and a mighty frightening puppet at that.

While I certainly enjoy the Godzilla movies which were to follow, the ones that turned Godzilla into a sort of superhero fighting all the “bad” monsters to save the Earth, and in fact I actually prefer some of those films, I can’t deny that the one and only true Godzilla horror movie is the first one. It’s terribly scary.

And Godzilla’s rampage and destruction of Tokyo remains one of the most memorable scenes in any giant monster movie.

The recent GODZILLA: KING OF THE MONSTERS (2019) while an okay film pales in comparison to this cinematic classic.

Wanna have a nightmare? Watch GODZILLA (1954). Or maybe just stare long and hard at the photo above.

Either way, you might be in for a restless night.

—Michael

GODZILLA: KING OF THE MONSTERS (2019) – Mixed Bag of A-List Actors and Mediocre Giant Monster Battles

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GODZILLA: KING OF THE MONSTERS (2019), the latest American made Godzilla film and sequel to Warner Bros.’ GODZILLA (2014), is a well-acted action-filled monster movie that somehow in spite of these strengths is sadly underwhelming.

And that’s because this movie contains an odd mix of often ridiculous plot points combined with a tone that simply takes itself way too seriously. Instead, the film should have gone for one or the other. A campier tone would have aligned itself better with the goofy superficial plot points. Likewise, a much more realistic and gritty storyline would have fit in better with the film’s serious feel. As it stands, the movie mixes both, and it just doesn’t work.

Following the 2014 Godzilla attacks which left the world a different place, the secret organization Monarch is in charge of monitoring all the new giant monsters which have been discovered in various places around the globe (silly plot point #1), but the U.S. government and military want to shut down Monarch so they can destroy the monsters and save the Earth. But the Monarch scientists argue that the monsters really aren’t here to destroy the Earth but to save it from its worst enemy: humankind.

Top Monarch scientist Dr. Emma Russell (Vera Farmiga) and her husband Mark (Kyle Chandler) lost their son in the previous Godzilla attack, and his death caused them to separate, and Emma alone is raising their daughter Madison (Millie Bobby Brown). It also caused Emma to have extreme ideas about these monsters, and so she aligns herself with the dubious Jonah Alan (Charles Dance)— cue evil villain music!— and the two plan to release the giant monsters so they can unleash their wrath on the world and “cleanse” it of its human cancer.  Hmm. Where have I heard this before? Is that Thanos I see whispering into Dr. Russell’s ear?

But Dr. Russell isn’t arguing a la Thanos that half the population has to be wiped out by the monsters, only some of it, and that at the end of it all there will be new growth and the planet will be greener for it.  Come again? 

Of course, when this starts happening, the rest of Monarch and the U.S. military go ballistic, and they not only form an uncomfortable alliance to thwart Emma’s efforts, but they also call in Mark Russell to help them. Mark is mostly interested in finding and saving his daughter, and speaking of Madison, once she learns what her mom has planned, she changes her tune about which parent she wants to be spending time with.

Things grow more complicated when one of the monsters, King Ghidorah, is discovered to be from another planet, and he decides that he’s going to control and lead all the monsters in a battle against Godzilla for supremacy of the Earth.

Godzilla? That’s right! This is a Godzilla movie!  Funny how I haven’t mentioned him yet. Real funny. Not. Which is to say more Godzilla in this story and less elaborate saving-the-world-nonsense would have been most welcome.

Anyway, it’s up to Godzilla to take on King Ghidorah and ultimately save the world.

But as you may surmise from this plot summary, it’s a helluva convoluted way to tell a story about everyone’s favorite fire-breathing radioactive giant lizard!

Poor Godzilla. He was supposed to appear in this movie more than he did in the last one, the 2014 film, and while that may have been the case, it sure didn’t feel like it. For a movie that’s called GODZILLA: KING OF THE MONSTERS it sure seemed like he took a back seat to the other monsters in this one..

The best thing that GODZILLA: KING OF THE MONSTERS has going for it is its cast. It boasts a really strong cast of actors, led by its three principal leads.

Vera Farmiga as Dr. Emma Russell and Millie Bobby Brown as daughter Madison were both excellent. This is Millie Bobby Brown’s film debut. Brown, of course, plays Eleven on the hit TV series STRANGER THINGS (2016-19) so her effective performance in this movie is no surprise.

Vera Farmiga is one of my favorite actresses working today, and while her movie performances have all been superb, it’s her work on the TV series BATES MOTEL (2013-17) based on PSYCHO (1960) where she played Norma Bates that I think is among her best stuff. Her interpretation of Norma Bates was much more nuanced and three-dimensional than the character ever was before in both the Hitchcock movie and Robert Bloch’s original novel.

Kyle Chandler is always enjoyable in nearly every movie he’s in, and he’s been in a lot, from light fare like GAME NIGHT (2018) to more serious stuff like MANCHESTER BY THE SEA (2016) to small supporting roles like in THE WOLF OF WALL STREET (2013), Chandler always makes a lasting impression. His work here in GODZILLA: KING OF THE MONSTERS is no exception.

When these three actors are on-screen, the movie is at its best and most watchable, and the good news is they’re on screen a lot, but the problem is they are stuck in a ridiculous storyline and are often uttering some very superficial and god-awful dialogue that really detracts from the seriousness of their performances.

Incidentally, Kyle Chandler also appeared in Peter Jackson’s KING KONG (2005) which is not part of the current Warner Bros. giant monster universe, and he’s set to appear in the next film, GODZILLA VS. KONG.

The supporting cast is every bit as good as the three leads.

You have Ken Watanabe, Sally Hawkins (THE SHAPE OF WATER [2017]), Ziyi Zhang, and Bradley Whitford as fellow Monarch scientists. Watanabe and Hawkis are reprising their roles from the previous Godzilla movie, and in Watanabe’s case, he’s playing Dr. Serizawa, a name that goes back to the original GODZILLA film from 1954.

Bradley Whitford gets the liveliest lines in the movie, but strangely, his frequent attempts at humor seem to misfire repeatedly. Again, it’s that odd mix, and his campy lines seem out-of-place with the serious tone surrounding him.

David Strathairn plays Admiral William Stenz, another character back from the 2014 film, and Charles Dance does his villainous best at bad guy Jonah Alan, although at the end of the day the character is pretty much all talk and no action. In short, he does very little here.

The true villain is King Ghidorah, which brings us finally, to the monsters. After all, you don’t see a Godzilla film for the actors. You see it for the monsters. So, how do the monsters fare here?

Well, the main monsters here are Godzilla, King Ghidorah, Rodan, and Mothra, and while they are all given modern-day looks, I can’t say I was all that impressed. It sounds strange to say this, but with all our current CGI technology, I find that I prefer the old-fashioned man-in-suit monsters from Toho’s glory days. These monsters all look okay, but nothing about them I find special nor memorable.

In the Toho films, for better or for worse, the monsters, both good and bad, had personality. The monsters here have no personality. They are quite simply generic and not at all cinematic, which is a major knock against this movie, and quite frankly against the other Warner Bros. monster universe films. If the Marvel superheroes lacked similar charisma that series would have never gotten off the ground.

Also, I did not like the look of this movie at all. Most of the action takes place during various weather events and storms, and so it’s always difficult to see what the heck is going on. For example, the film’s climax takes place in Boston, and at Fenway Park specifically, and I have to say it’s one of the poorest and most fake looking interpretations of Boston I’ve ever seen in a movie. What could have been iconic and devastating is instead cartoonish and superficial.

GODZILLA: KING OF THE MONSTERS was directed by Michael Dougherty, and he also wrote the screenplay with some help from Zach Shields. This is the same creative team that gave us the horror movie KRAMPUS (2015), a film I actually liked quite a bit. In fact, I enjoyed KRAMPUS more than I enjoyed GODZILLA: KING OF THE MONSTERS.

Dougherty gives us plenty of monsters and monster battles, but since 1) the monsters didn’t look outstanding, and 2) the settings of these battles were often in storms and difficult to see, as presented here, the monsters’ presence didn’t really lift this one to great heights.

The screenplay is superficial at best. It never gives us real terror— real people are noticeably absent here—- other than the scientists and a few military types, we see no one else reacting to the monsters. The film lacks real world emotion big time.

While it attempts to be an homage to earlier films at times, like the use of the Oxygen Destroyer, a weapon from the 1954 GODZILLA, it does it all in a fleeting manner that never really gets to the heart of the matter.

Dougherty has a cast of seasoned and talented actors that make this movie better than it is,  but he doesn’t really help them out. They are in few cinematic scenes and more often than not are uttering lines of dialogue that are pretty bad.

So, where do I stand on GODZILLA: KING OF THE MONSTERS? For the most part, I did enjoy this movie, especially when watching Vera Farmiga, Millie Bobby Brown, and Kyle Chandler, but whenever Godzilla and his fellow monsters showed up, I would lose interest, and for a Godzilla movie, this is NOT a good thing.

The film is a mixed bag to be sure, and while I enjoyed it more than GODZILLA (2014), I still prefer the Toho films of old, from the 1950s, 60s, and 70s.  Now, Toho continued the Godzilla series into the 1980s, 1990s, and early 2000s, even making the critically acclaimed SHIN GODZILLA (2016), and while those films in general are okay—I like the aforementioned older ones more—, they’re about on par with this current Warner Bros. series.

The next film, GODZILLA VS. KONG, slated for release in 2020, is one that while I’m definitely interested in, based upon the Warner Bros. films so far, I can’t say I’m excited about.

So, GODZILLA: KING OF THE MONSTERS is okay, but since the best part about it is NOT Godzilla, I don’t think Godzilla himself would approve, and for me, that’s all you need to know about this one.

—-END—

 

 

 

 

 

 

 

 

IN THE SPOOKLIGHT: KING KONG ESCAPES (1967)

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This IN THE SPOOKIGHT column is a reprint from February 2007:

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Think of Japan’s Toho productions, and the first name that comes to mind is Godzilla, and rightly so, since Toho produced more than 25 movies starring everyone’s favorite giant mutated dinosaur.

However, Toho also made a couple of King Kong movies in the 1960s.  They made some Frankenstein films as well, but we won’t go there today.  Their second (and last) Kong film was KING KONG ESCAPES (1967), generally considered to be one of the worst Kong movies ever made, right up there  with KING KONG LIVES (1986).

My vote for the worst goes to KING KONG LIVES, and that’s because I have a soft spot in my heart for KING KONG ESCAPES.  Maybe it’s because KING KONG ESCAPES was the first Kong movie I ever saw. Or maybe, just maybe, it’s not that bad after all.

KING KONG ESCAPES borrows heavily from the 1960s James Bond craze.  There’s a supervillain, the evil Dr. Who, beautiful women, and a dashing hero, played by Rhodes Reason doing his best to impersonate Sean Connery.  What passes as a plot has Dr. Who building a robot Kong to dig up the precious “element X” which of course, once he has, he’ll be able to use to rule the world! (cue crazed evil laugh). When the robot Kong fails, Who captures the real Kong to do the work.  Of course, Kong isn’t interested.  He’s too busy falling in love with the young blonde lead in the movie, Susan, played by Linda Miller.

Unlike Fay Wray in the original, there’s no screaming here. Linda Miller’s character hardly seems frightened at all by Kong’s presence, and converses with him as if talking to her pet dog.  Better yet, Kong listens and understands everything she says!  Gone are the days when Kong tossed women who weren’t Fay Wray from New York buildings.  In KING KONG ESCAPES, Kong is clearly a hero and a gentleman— or is it a gentle-ape?

Still, he packs a punch when he needs to.  Japanese monster movies are famous for their giant monster battles, and on that front, KING KONG ESCAPES doesn’t disappoint.  Kong fights a dinosaur, a sea monster, and in a “colossal struggle of monster vs. robot” as the film’s original movie posters boasted, he takes on his duplicate, the giant Robot Kong, in an epic climactic battle, which is actually quite well done.

The special effects really aren’t that bad.  They’re on par with other Japanese monster movies of the decade, maybe even a bit better.  Kong looks silly, but his appearance is several notches above his previous Toho stint, in KING KONG VS. GODZILLA (1963), where he looked sort of ragged, as if he’d been pummeled a few times by co-star Godzilla before the cameras rolled.   And the Robot Kong is pretty cool looking.

KING KONG ESCAPES was directed by Ishiro Honda, who directed many of Toho’s better films, including the original GODZILLA, KING OF THE MONSTERS! in 1954.  The English version screenplay by William J. Keenan is extremely silly, with awful dialogue, but it doesn’t really matter.  What matters is Kong, and he gets plenty of screen time.

KING KONG ESCAPES doesn’t come close to either the original KING KONG (1933), or Peter Jackson’s 2005 remake.  It is not a great movie nor does it pretend to be.  The inept 1976 KING KONG with Jessica Lange, if you remember, compared itself to JAWS.

However, it is fun and entertaining, and in the world of monster movies, that’s often enough.  At the end of the day, Kong is still king, still roaring, still on top, even after KING KONG ESCAPES.

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READY PLAYER ONE (2018) – Cinematic References Best Part of this Fantasy Tale

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I’m not a gamer. I don’t play video games, and I haven’t read the book  Ready Player One by Ernest Cline, and so my interest in seeing READY PLAYER ONE (2018) the new fantasy adventure by director Steven Spielberg, was purely for cinematic reasons.  That’s right. I saw this one simply because I wanted to see the movie.

So, as a movie, how does READY PLAYER ONE size up? Not bad.  For the most part, it’s a fairly entertaining two-plus hours at the movies, even if it’s telling a story that is about as compelling as a game of Donkey Kong.

The best part of READY PLAYER ONE is all the cultural cinematic references. After all, where else can you find King Kong, MechaGodzilla, and the Iron Giant all in the same movie?  Where else can you have your characters enter a world based on Kubrick’s THE SHINING (1980)?  The answer is READY PLAYER ONE! These and other references and nods [including to ALIEN (1979) and LOST IN SPACE (1965-68)]  are what kept me most interested in this movie, long after I lost interest in its story.

Wade Watts (Tye Sheridan) lives in 2045, a time when life is so hard people need to escape from reality, and they do so by entering the OASIS, a virtual reality world created by the brilliant James Halliday (Mark Rylance) where pretty much anything can happen. You can be whoever you want to be and do whatever it is you want to do. So, Wade plays in this video game world as a handsomer version of himself known as Parzival.

Halliday has since died, but he’s left a challenge to all the players in the OASIS: he has left three keys inside his virtual reality world, and the player who finds all three keys will unlock the game’s secret and become controller of the entire OASIS.  Wade and his friends make it their goal to do just that, but they’d better hurry because an evil company led by a man named Sorrento (Ben Mendelsohn) has other ideas.

And that’s the story.  This one’s certainly not going to win any awards for Best Screenplay, that’s for sure.

Visually READY PLAYER ONE is a lot of fun, and Spielberg keeps the action fast, bright, and playful.  I have no problem with this part of the movie.

The cast is okay, even though they don’t have a whole lot to work with. Tye Sheridan is decent enough in the lead role as Wade/Parzival, but the character as written in this movie is rather dull, and Sheridan doesn’t really bring this young man to life.  Both his parents have died, yet this grief barely resonates in the story.

Olivia Cooke fares better as Samantha, who becomes Wade’s best friend and eventual love interest.  Samantha is also a kick-ass character who is much more interesting than Wade.  I like Cooke a lot and have been a fan since I first saw her on the TV series BATES MOTEL (2013-17) and also in the Hammer horror movie THE QUIET ONES (2014).

Ben Mendelsohn plays the cardboard villain Sorrento who acts like he walked out of an old Scooby Doo cartoon.  Mendelsohn played a much more effective villain, Orson Krennic, in ROGUE ONE: A STAR WARS STORY (2016).

I did enjoy T.J. Miller as Sorrento’s henchman I-ROk, as he provides the film’s best bits of comic relief.  Miller was recently in DEADPOOL ((2016), but I always remember him as Hud, the frightened yet frequently hilarious guy behind the camera in CLOVERFIELD (2008).

Mark Rylance, either hidden under lots of hair or CGI effects in the OASIS, is quiet and unassuming as the gaming genius Halliday, but Simon Pegg as Halliday’s business partner Ogden Morrow is little more than an afterthought.  These two fine actors really don’t get a whole lot of chances to do much in this movie.

The screenplay by Zak Penn and Ernest Cline, who wrote the novel, is straightforward and pretty much tells a by-the-numbers plot.  Teens have to save the world from an evil meddling company while learning about the man who created their favorite game and about themselves as well.

At times, the film feels like a cross between TRON (1982) and WILLY WONKA AND THE CHOCOLATE FACTORY (1971). In fact, it’s been reported that Spielberg had approached Gene Wilder to play Halliday, before the iconic comedic actor passed away.  Its nonstop video game landscape is mixed with a syrupy sweet nostalgia tale that makes for lightweight fare, as opposed to a hard-hitting fantasy adventure.

There’s not a lot of memorable dialogue either. And the action scenes, while visually stunning, were pretty tame.

READY PLAYER ONE is chock-full of fun cinematic, video game, and cultural references, especially from the 1980s, and it’s a treat for the eyes, as it’s full of colorful alternate reality landscapes, but its story is meh and often falls flat.  For example, for nearly its entire 140 minute run time, we are immersed inside its virtual reality world, yet at the end, we are treated to a message that says the real world is still more important and interesting, which after all that came before it simply sounds hollow and forced.

READY PLAYER ONE is a colorful diversion if you have 140 minutes to spare.  If not, feel free to spend some time outside instead.  In the real world.

—END—

 

 

 

 

 

IN THE SPOOKLIGHT: GODZILLA VS. THE SEA MONSTER (1966)

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godzilla vs. the sea monster

Godzilla and Ebirah duke it out in GODZILLA VS. THE SEA MONSTER (1966).

When I was a kid in the 1970s watching Godzilla movies on the Creature Double Feature, GODZILLA VS. THE SEA MONSTER (1966) was not one of the Godzilla flicks that made the rounds back then.  I didn’t see it for the first time until the mid 1990s.

GODZILLA VS. THE SEA MONSTER is one of the early “silly” Godzilla movies, films where Godzilla pretty much is a giant monster superhero saving human kind from monsters, aliens from outer space, and assorted human villains.  Here, he takes on human villains and the giant sea monster known as Ebirah.

My favorite part of GODZILLA VS. THE SEA MONSTER is the story it tells and the characters it creates.  Most of the time, the storylines in the old Godzilla movies were pretty bad, and the characters uninteresting.  In fact, in general, you had to sit through a pretty boring movie and wait for Godzilla to show up before things got interesting.  But that’s not the case here with GODZILLA VS. THE SEA MONSTER.  It boasts one of the more fun stories in a 1960s Godzilla film, and it certainly contains some of the series’ more interesting characters.

So, it’s one Godzilla movie where things are a lot of fun even when Godzilla is not stomping on the scenery. But that doesn’t mean that Godzilla still isn’t the best part of this movie

Basically, a young man in search of his brother who had been lost at sea convinces two of his friends to help him steal a boat so they can search for his missing brother.  It turns out, the boat they choose happens to be inhabited by a jewel thief named Yoshimura (Akira Takarada) who’s hiding inside the boat.

Eventually, the four men find themselves shipwrecked on an island run by evil militants who are running a slave trade, and these militants are protected by the giant sea monster Ebirah. Lucky for our heroes, they discover Godzilla sleeping inside a cave and use lightning to wake him up, and of course, being Godzilla, he immediately gets cracking at seeking out and destroying all the evil elements on the island.

It also turns out, that the missing brother found himself on Mothra’s island, and so eventually Mothra shows up to help out when Godzilla’s intentions aren’t all that clear. That’s the fun thing about Godzilla. Sure, he’ll smack down the bad guys, but that doesn’t mean he won’t stomp on the heroes as well.

If this sounds silly, that’s because it is silly, but it’s all framed in a quick-moving fun storyline in which jewel thief Yoshimura often has to use his “thief skills” to help get his new young friends out of jams. Plus there’s a hopping 1960s music score that sounds like a cross between the Adam West BATMAN TV show and a Sean Connery James Bond movie.

But the bottom line is the entire flick is a heck of a lot of fun, and it’s one of my favorite GODZILLA  movies from the 1960s.

Akira Takarada, who plays Yoshimura the jewel thief, also starred in the original GODZILLA: KING OF THE MONSTERS (1956) as the heroic Ogata, as well as in KING KONG ESCAPES (1967). He’s excellent here as Yoshimura.  Takarada’s co-star from first GODZILLA, Akihiko Hirata, who played Dr. Serizawa in that film, plays the villainous Captain Yamoto here.  Both actors have appeared in multiple Godzilla movies over the years.  Hirata passed away in 1984 at the age of 56, but Takarada is still with us.

The other interesting thing about GODZILLA VS. THE SEA MONSTER is that it was originally written to be a King Kong movie, a follow-up to KING KONG VS. GODZILLA (1962). Eventually that idea was scrapped, and Kong was replaced by Godzilla, which explains some of the different behaviors displayed by Godzilla in this movie.  First and foremost, Godzilla is very protective of the lead female character here, which isn’t indicative of Godzilla’s behavior in any other movie.  On the other hand, showing affection towards the female lead is one of Kong’s signature movie traits.  What a Lothario!

Godzilla is also found sleeping inside a cave, where in other films he pretty much lives in the ocean, and he’s strengthened by lightning, which is how Kong was strengthened in KING KONG VS. GODZILLA.

The battle between Godzilla and Ebirah is okay, and there have been far better monster battles in other Godzilla movies, but the strength of this film is the better balance between Godzilla scenes and the scenes featuring human characters.  When Godzilla is not on-screen, the action here is still engaging and fun.

GODZILLA VS. THE SEA MONSTER is not one of more popular Godzilla movies, but it’s certainly one of the more entertaining ones.

Definitely check out GODZILLA VS. THE SEA MONSTER.  Watch Godzilla battle that giant lobster monster Ebirah, and if you’re lucky enough, there might even be some leftovers for a hearty seafood platter.

Yum!

Pass the tartar sauce please.

—END—

 

 

 

 

 

 

 

 

 

SHOCK SCENES: KING KONG APPEARS! (2017)

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I wrote the following column in 2015, in which we looked at King Kong’s entrance scenes in the various King Kong movies.  Well, here in 2017, we’ve just had another Kong movie, KONG:  SKULL ISLAND (2017).  And so, here’s an updated version of this column to include KONG:  SKULL ISLAND.

—Michael

 

SHOCK SCENES:  KING KONG APPEARS!king kong 1933 poster

By Michael Arruda

Welcome back to SHOCK SCENES, the column where we look at memorable scenes in horror movie history.

Up today is the big guy himself, King Kong.  With apologies to Godzilla, King Kong is the baddest monster on the planet.  Sure, Godzilla is known as the King of the Monsters, and he’s been in more movies than Kong, but Kong is King as well, and the one time they squared off in a movie, KING KONG VS. GODZILLA (1962), it was Kong who emerged victorious.

Today we’ll be focusing on King Kong’s entrance scenes, the scenes in his movies where he first makes his dramatic appearance.  We will concentrate mostly on the original KING KONG (1933) and its two remakes, but we will also look at the Japanese films and the awful KING KONG LIVES (1986).

KING KONG (1933) is the classic giant monster movie, one of the most exciting and well-made monster movies of all time.  It has aged remarkably well and still appeals to modern audiences.  The film is chock full of classic scenes, and Kong’s first entrance is no exception.

It starts when the Natives on Skull Island abduct Ann Darrow (Fay Wray) and bring her back to the island where they plan to offer her as a bride for Kong.  With Max Steiner’s memorable music blaring, the Natives lead Ann beyond the great wall where they tie her up so she can await the arrival of Kong.

With the beats of a gong, the Natives summon their king, and moments later, he arrives.  First we hear his roar— the special effects department used a lion’s roar played backwards and at a lower speed for this effect— and then as he knocks a tree over, Kong makes his appearance, and we see Willis O’Brien’s remarkable stop-motion animation effects as Kong breaks through the trees and descends upon Ann.

King Kong discovers Ann Darrow (Fay Wray) in KING KONG (1933)

King Kong discovers Ann Darrow (Fay Wray) in KING KONG (1933)

We then see a close-up of his monstrous face, which was in reality a huge model of his head built by O’Brien’s special effects team.

As first entrances go, it’s a classic.  It’s fun to imagine what it must have been like for movie audiences back in 1933 seeing Kong for the first time.  It must have been awesome and frightening.

The special effects here work so well.  To see Kong standing there, with Ann Darrow, with the great wall behind her and the Natives standing on top of the wall, and it all looking so real, is truly astonishing.

KING KONG VS. GODZILLA (1962) is a silly movie that is only notable for pitting these two legendary monsters together in one film.  Since Kong died at the end of the original KING KONG (1933) falling from the Empire State Building in probably the movie’s most enduring image, there really couldn’t be any sequels.  There was SON OF KONG (1933) which featured a younger cute and cuddly Kong Jr., but that was it.  There were plans for a Kong prequel of sorts, a story which would have taken place in the middle of the action in KING KONG, which would have been built around a storyline of the adventures of Carl Denham and the crew of the Venture on their way back to New York City with King Kong in tow on a raft, an adventure that would have seen Denham and company and Kong face off against a new threat, but that project never got off the ground.

Perhaps the worst looking Kong in KING KONG VS. GODZILLA.

Perhaps the worst looking Kong in KING KONG VS. GODZILLA.

So decades passed before Toho, the Japanese movie studio which brought Godzilla to the world, secured the rights for the Kong character and made KING KONG VS. GODZILLA.

Kong’s first entrance in KING KONG VS. GODZILLA isn’t memorable at all.  We hear his roar first, and then suddenly he’s there, showing up at the Natives’ village to fight off a giant octopus.  Toho always used the man-in-suit method to create their giant monsters, and their Kong suit in this movie has to be the worst looking King Kong of all time.

KING KONG ESCAPES (1967) is yet another silly Toho movie, supposedly made to tie-in with the 1960s animated TV series KING KONG.  It certainly plays like a Saturday morning cartoon, which is the complete opposite of the original KING KONG which was much more akin to the relentless ferocity of JAWS (1975).  That being said, I have to confess, I like both Toho King Kong movies.

Kong to the rescue in KING KONG ESCAPES.

Kong to the rescue in KING KONG ESCAPES.

Still, KING KONG ESCAPES has nothing to offer in terms of Kong’s first appearance.  On Kong’s island a dinosaur shows up and scares young Susan (Linda Miller).  When she screams, the camera cuts away to a close-up of Kong’s face.  His eyes are closed.  He opens them to reveal eyes that look like they belong on a Sesame Street Muppet.  We then see him sitting in a cave.  He quickly gets up and races to the scene to protect the young woman from the dinosaur.  What a gentleman!

KING KONG (1976) the incredibly hyped remake by producer Dino De Laurentiis was a box office bomb and panned by both fans and critics alike.  It’s a pretty bad movie, but in spite of this, surprisingly, it does enjoy a few fine moments.  Kong’s initial entrance is one of them.  In fact, it’s so good that I’d argue that of all Kong’s entrances, it might be the best!  It’s certainly the only part of this 1976 film that even comes close to equaling anything done in the 1933 original.

This time, it’s Jessica Lange who’s captured and tied up as the Natives summon Kong.  I actually love the way director John Guillermin conceived this sequence.  We see trees being knocked over from Kong’s point of view, and we first see Kong through close-ups of his face, and it’s the best most authentic looking face to date, thanks to the incredible make-up of Rick Baker.  We see Kong’s eyes as he marches through the trees towards Jessica Lange.  Close-up, Kong looks as menacing as he’s ever looked on film.  It’s a thrilling sequence, probably the most original and thrilling part of this 1976 flick.

Kong's looking mighty ferocious in the 1976 KING KONG.

Kong’s looking mighty ferocious in the 1976 KING KONG.

It’s also helped along by John Barry’s music score, which as a whole, I don’t like at all.  But in this scene, it’s probably Barry’s best moment.

At this moment in the movie, the film truly captures the awe of King Kong.  The build-up—audiences hadn’t seen a serious Kong since the 1933 original, the anticipation, is wonderfully captured in this sequence.  And when the camera pulls back, and we see Kong’s entire body for the first time, Rick Baker in his ape suit, he’s awesome to behold, and when he roars, the film nails King Kong at this moment perhaps more effectively than any other moment in any other King Kong movie.

And then— it’s all downhill from there.

It’s amazing how quickly and how far this movie falls after this scene, which is the story for another article.   A lot of it is the silly script, but most of it is the special effects which to me has always been the main reason this 1976 film failed.  Rick Baker’s ape suit looks fine, and in terms of how he looks, he blows the Toho Kongs out of the water, but at the end of the day, it’s still a man-in-a-suit which has never ever been a completely satisfying way to make a giant monster.  The hype for the 1976 KING KONG was all about the giant mechanical robot of Kong that was built and was supposed to be the main special effect in this film, but a not-so-funny thing happened:  it never worked. It appears in two brief scenes in this film for a mere few seconds.

But Kong’s first entrance in this 1976 film— priceless.

 

KING KONG LIVES! (1986) is the horrible sequel to KING KONG (1976) that is believe it or not even worse than the 1976 film.  In this one, scientists bring Kong back to life after his fall from the World Trade Center so the first time we see Kong in this one he’s a patient in a laboratory.  Not very exciting.  Neither is this movie.

Kong the patient in KING KONG LIVES.

Kong the patient in KING KONG LIVES.

 

 

 

 

 

 

 

KING KONG (2005) is Peter Jackson’s homage to the 1933 original.  Jackson’s obviously a fan of the original Kong, and this was clearly a labor of love, but strangely, it’s a very uneven movie.  The scenes on Skull Island are exceptional and make this one worth watching for these scenes alone, but surrounding these scenes is a dull opening in New York City, and the climax which also takes place in New York also doesn’t really work.  Kong and Ann share a romantic moment in Central Park?  Seriously?

Now while I love the Skull Island scenes, I’m not so hot on Kong’s first entrance.  Why?  Because it’s oddly all very undramatic!  It’s Naomi Watts who’s abducted for Kong this time, and when Kong appears, he just sort of shows up, coming out of the jungle swinging his arms and roaring.  It’s nothing we haven’t seen before, and it plays much closer to the mundane first appearances in the Toho movies than the well-crafted and dramatic entrances in the 1933 and 1976 versions, making it yet another contribution to the reasons why the 2005 version is an uneven movie.

Kong looks impressive in the 2005 Peter Jackson KING KONG, but film is uneven.

Kong looks impressive in the 2005 Peter Jackson KING KONG, but film is uneven.

 

 

 

 

 

 

 

 

KONG:  SKULL ISLAND (2017) was just released a week ago, and while many fans are instantly calling this the best Kong flm since the 1933 original, I was only lukewarm on it.  I found the script rather stupid, the characters dull and not developed to any degree of satisfaction, and Kong himself, while looking fine, rather boring.

Kong in this movie is probably the least satisfying Kong in any of the movies for the simple reason he has zero personality.  In the other movies, Kong showed a wide range of emotions, from anger to rage to ferocity to even tenderness, but here, he’s just a slow moving enormous creature who fights monsters and humans.  Blah.

There are actually two entrance scenes here for Kong.  The first is a teaser, in the opening moments of the film, which takes place during World War II.  Both an American and Japanese pilot crash land on Skull Island, and they quickly become involved in hand to hand combat, when suddenly King Kong appears.  We see his giant hand, and they see him.

Kong’s official first appearance comes later in the movie, which now takes place in 1973, as military helicopters carrying the scientific expedition to Skull Island suddenly encounter Kong who introduces himself to the copters by hurling trees at them.

Kong-Skull-Island-Kong

Kong battles helicopters in KONG:  SKULL ISLAND (2017)

This scene had the potential to be awesome, but the full effect of this first entrance is never as cinematic as it should have been.  Director Jordan Vogt-Roberts seemed satisfied to film this as a routine war scene as opposed to a larger-than-life Kong-makes-his-first-appearance scene.  Too bad.

Like the entire movie, Kong’s first entrance in KONG: SKULL ISLAND falls short of expectations and never rises above standard giant monster fare.

 

You can’t really argue that any other Kong movie is actually better than the 1933 original KING KONG.  It simply hasn’t been surpassed yet.

However, I can and will argue that in terms of first appearances, if any other film challenges Kong’s first entrance, surprisingly, it’s the 1976 version of KING KONG that does this.  Director John Guillermin pulls out all stops and creates an impressive and thrilling first Kong scene, combined with John Barry’s effective music—the only moment in the film where his music works—, as well as Rick Baker’s amazing make-up, makes this moment as good as Kong’s opening moment in the 1933 film, and way better than similar scenes in any of the other Kong movies, which is saying something, since the rest of the 1976 film is so bad.

So there you have it.  A look at King Kong’s first entrances in the KING KONG movies.

Hope you enjoyed today’s SHOCK SCENES.  I’ll see you again next time when I look at more classic scenes from other classic horror movies.

Thanks for reading!

—Michael

Books by Michael Arruda:

TIME FRAME,  science fiction novel by Michael Arruda.  

Ebook version:  $2.99. Available at http://www.neconebooks.com. Print version:  $18.00.  Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.

IN THE SPOOKLIGHT, movie review collection by Michael Arruda.

InTheSpooklight_NewText

 Ebook version:  $4.99.  Available at http://www.neconebooks.com.  Print version:  $18.00.  Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.

FOR THE LOVE OF HORROR, short story collection by Michael Arruda.  

For The Love Of Horror cover

Ebook version:  $4.99.  Available at http://www.neconebooks.com. Print version:  $18.00.  Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.  

Kong Battles A Weak Script in KONG: SKULL ISLAND (2017)

1

 

 

kong-skull-island-poster-

King Kong is back!

And while he’s still king when it comes to defending Skull Island from giant monsters and aggressive humans, he’s not so adept at overcoming a bad script.

KONG:  SKULL ISLAND is a new King Kong movie, produced by the same folks who made GODZILLA (2014), the one with Bryan Cranston.  As such, it’s not a sequel to Peter Jackson’s KING KONG (2005), but as most everyone knows by now, a new story to set up a future King Kong vs. Godzilla bash which is scheduled for release in 2020, which is why Kong has been taking steroids.

Yup, in this movie, Kong is huge!  Whereas in the Peter Jackson movie, Kong stood at 25 feet tall, here in KONG:  SKULL ISLAND Mr. Kong stands at a towering 104 feet tall.  The 25 feet tall is comparable to Kong’s height in the original 1933 film, and the tallest Kong appeared in KING KONG VS. GODZILLA (1962) where he stood at 147 feet.

For reasons I’m not sure I understand, KONG:  SKULL ISLAND takes place in 1973, just as the Vietnam War comes to a close.  Scientist and adventurer Bill Randa (John Goodman) asks for and receives—why?— federal funding to lead an expedition to an uncharted island in the Pacific in search of giant monsters.  He also asks for and receives a military escort, led by Preston Packard (Samuel L. Jackson), who’s still smarting over the way the Vietnam War ended, for as Packard says, “we didn’t lose the war.  We abandoned it.”

Also going along for the journey are professional tracker James Conrad (Tom Hiddleston) and war photographer Mason Weaver (Brie Larson), as well as various other military folks and scientists who are just as under-developed as these main characters.

When they get to Skull Island, it doesn’t take them long to encounter Kong who quickly makes short work of them, downing their helicopters and killing most of them.  Those who survive find themselves scattered on the island, but they know of a rendezvous point where more helicopters are scheduled to arrive to pick them up, and so they know if they can get there, they can be rescued.

Of course, Kong and the other giant creatures on the island have other ideas.

While I wouldn’t call KONG:SKULL ISLAND the worst Kong movie ever made— that distinction still belongs to the utterly horrible KING KONG LIVES (1986)— it’s certainly one of the stupidest Kong films ever.  What a ridiculously inane story!

First of all, it’s not a new story at all.  While technically not a remake of the original Kong tale, it basically tells the same story:  a group of people travel to an uncharted island in search of something monstrous that supposedly lives there.  It’s the same exact story, only without the Fay Wray character.  This is the best the writers could do?

Don’t be fooled.  KONG:  SKULL ISLAND is not an original tale.  It’s just another origin story, and we’ve already had plenty of those.  They’ve been called KING KONG. Sure, here it’s been altered to fit into a Vietnam era tale, but these alterations only make things more ridiculous.

I’m not really sure why there is a Vietnam connection.  It’s obvious from the film’s poster that the filmmakers are going for an APOCALYPSE NOW (1979) connection.  And while there’s plenty of cool 1970s songs on the soundtrack, along with wise cracking soldiers, none of it really works.  It all just feels out-of-place.

Director Jordan Vogt-Roberts does the film no favors with a choppy style that is more reminiscent of TOP GUN (1986) than APOCALYPSE NOW.  Like TOP GUN, there are lots of characters  who we never really get to know, often shown in brief music video-style clips which serves as a substitute for genuine character development.

The screenplay by three writers with considerable screen credits—Dan Gilroy, Max Borenstein and Derek Connolly is pretty bad. It’s chock full of awful dialogue, and the only reason folks like John Goodman and Tom Hiddleston say their lines with straight faces is because they’re really good actors.  And the story is a snooze.  It’s an origin story disguised as monster movie/war movie hybrid, and it just doesn’t work.  Gilroy wrote NIGHTCRAWLER (2014), Borenstein co-wrote GODZILLA (2014), and Connolly co-wrote JURASSIC WORLD (2015).  KONG: SKULL ISLAND is not their best work.

Back in 1976, critics made fun of the fact that in the 1976 remake of KING KONG, Kong walked upright like a man, which was a clear departure from the way he walked in both the original 1933 classic and in the ensuing Japanese Toho productions.  Kong was a giant ape and was supposed to walk like an ape.  To be honest, I never had a problem with Kong walking upright in the 1976 version, as it is an interpretation which suggests that Kong is not just a giant ape but a different creature altogether.  This interpretation makes Kong more monstrous.

I bring this up because here in KONG:  SKULL ISLAND Kong once again walks upright.  I don’t have a problem with this.  However, I do have problems with Kong in this movie.

While Kong looks fine, he has to be the most boring King Kong ever to appear in a movie.  In every Kong movie, even the Toho films, Kong has a personality.  He is a definite presence in the film.  He has no personality here.  In KONG:  SKULL ISLAND, Kong is nothing more than a slow-walking giant who battles both humans and monsters and that’s it.  Not that I’m arguing that every Kong movie has to be a love story between Kong and a woman, because that’s not what I’m talking about.  In other films, Kong has been angry, Kong has been heroic, and Kong’s has been ruthless.  It’s these emotions which have set Kong apart from other giant monsters in the movies, and while Kong goes through the motions in this movie, I never felt these emotions at all.

It’s one of my least favorite Kong interpretations of all time.

One thing the movie does have going for it is it is full of good actors, and so you cannot argue that the acting is bad here.  In fact, the acting in spite of the silly script, is one of the film’s best parts.

Tom Hiddleston, who plays the villain Loki in the MARVEL superhero movies, a character I have never liked, is very good here as hero tracker James Conrad, in spite of the laughable dialogue he has to say.   The same can be said for John Goodman, who plays adventurer Bill Randa, a sort of Carl Denham character— in fact, the clothes he wears in this movie are an homage to the clothes Denham wore in the 1933 original film—and who has to say even worse dialogue.

Brie Larson also does a fine job with Mason Weaver, although like every one else in the movie, her character is way under developed.  Samuel L. Jackson probably fares the worst, because in addition to his lousy dialogue, his military character is strictly cliché, the type of character who always seems to show up in a giant monster movie, the military officer who takes out his misplaced frustrations on the giant monster, vowing to kill the creature at all costs.  Blah, blah, blah.

The most interesting character in the film is Hank Marlow (John C. Reilly) a World War II pilot who was shot down during the war and has been living on Skull Island ever since when he is discovered by the folks in this movie.  Reilly has a field day with the role, and he has all of the best lines in the movie.

In fact, the story of KONG:  SKULL ISLAND is really the story of Hank Marlow.  The film begins with him being shot down, and the entire story arc in the movie which goes all the way into the end credits follows his tale, not Kong’s, which would have been okay, had I bought a ticket to see HANK MARLOW:  SKULL ISLAND.

Surprisingly, there are not any dinosaurs on Skull Island, this time around, but there are plenty of giant creatures.  Some work, others don’t.  I liked the giant spider and the bird creatures, but Kong’s main adversary in this film, giant reptilian creatures which come out from underneath the ground, did not work for me.  I thought they looked really silly.

The giant spider is an homage to the giant spider in the pit scene from the original KING KONG (1933) which was cut upon release, lost, and has remained missing ever since.  Kong’s fight with a giant octopus is also an homage to a similar scene in KING KONG VS. GODZILLA (1962).

There is an after-credit scene, but I didn’t stay for it.  I had had enough by the film’s end.

KONG:  SKULL ISLAND isn’t really all that intense.  In fact, you can make the argument that the 1933 original KING KONG is a far more intense film than this 2017 edition.

I love King Kong and I’m a huge fan of the King Kong movies, both the good and the bad, and so I can’t say that I hated KONG:  SKULL ISLAND. I just thought it was really stupid, and I didn’t particularly like the interpretation of Kong in this movie.  The actors all do a good job, but they’re in a story that doesn’t help them at all.

KONG: SKULL ISLAND is certainly one of the weaker films in the KONG canon.

—END—

Books by Michael Arruda:

TIME FRAME,  science fiction novel by Michael Arruda.  

Ebook version:  $2.99. Available at http://www.neconebooks.com. Print version:  $18.00.  Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.

IN THE SPOOKLIGHT, movie review collection by Michael Arruda.

InTheSpooklight_NewText

 Ebook version:  $4.99.  Available at http://www.neconebooks.com.  Print version:  $18.00.  Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.

FOR THE LOVE OF HORROR, short story collection by Michael Arruda.  

For The Love Of Horror cover

Ebook version:  $4.99.  Available at http://www.neconebooks.com. Print version:  $18.00.  Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.