King Kong

King Kong ★★★★½

King Kong is one of the most powerful and enduring myths that cinema has given us. The film, brilliantly directed by Merian Cooper and Ernest Schoedsack, is a reinterpretation of the archetypal legend of beauty and the beast. The couple of directors, in fact, places at the center of the story an impossible love, a bond as unlikely as it is unshakable, between a white woman, emblem of female beauty, and a titanic, destructive and violent monster. An invincible king who suddenly finds himself vulnerable, tormented by a previously unknown enemy: desire. The gigantic gorilla embodies the symbol of the rebellion of nature, shocked and offended by the arrogance and greed of man. In this sense, King Kong compares two settings: on the one hand a lost island in the middle of the Indian Ocean, a mysterious and primordial land, subject to the order of a wild and uncontaminated nature; on the other, a frenetic and alienating New York, afflicted by a period of very serious economic uncertainty, where Kong is transported to be exhibited as a freak. The great metropolis is described as a place of humiliation and exploitation, an urban jungle of steel and glass that the gorilla gorilla will end up tearing apart, in a cathartic revenge against the industrial civilization from which the public of the time, victim of the Great Depression, feels betrayed. The film is a true sensory experience that offers exoticism, adventure, thrills, emotions and above all a fantastic and spectacular world of formidable power. All this is possible thanks to Willis O'Brien's revolutionary special effects, but also to the soundtrack composed by Max Steiner, the terrifying sound effects and the great directorial inventiveness with which Cooper and Schoedsack manage to stage our most atavistic and deep fears.

Qui la recensione in italiano.

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