Movie Remakes Cage Match: King Kong

I would like to kick off my new series, Movie Remakes Cage Match, with a very timely topic:

Kong.

It's no secret that King Kong is back on the silver screen after more than a decade. First off, I must admit that I haven't seen this newest re-boot, Kong: Skull Island, yet. In fact, I will likely wait for it on Netflix or something. But there is so much to say about its cinematic predecessors.

The original King Kong movie of 1933 was based on the novel by Edgar Wallace. I actually had that book in my hands for a few days several years ago, but decided that a huge Kong fan and collector friend of mine would enjoy it far more than me, so I gave it to him. So I never read it. But I have seen that '33 horror movie classic so many times I've lost track. 

I first saw director Merian C. Cooper's film adaptation when I was a boy, maybe somewhere between age eight and twelve. TV Ontario, the Canadian public television station in my province, ran Kong at least once, maybe even twice, per year back in the 70's and 80's. The host of the Magic Shadows and Saturday Night at the Movies programs, film historian Elwy Yost, showed his favourite classics most often. Though Yost included gems from all genres in his programming, it was clear he loved the horror and sci-fi pictures as much as - or more than - the rest. It was through his shows that I saw The Thing From Another World, War of the Worlds, and The Day the Earth Stood Still, just to name a few, many times over. 

I remember watching the original King Kong on TVO both on my own and with my family on various occasions. The groundbreaking stop-motion animation of Willis O'Brien stood the test of time, and the story and indelible characters imprinted Kong on my consciousness. 

Whenever Kong made the rounds on TV, I'd tune in, as a kid, a teen, and as an adult. When I began building a collection of movies on home video, Kong just had to be there, first on VHS and later on DVD. Even as I write this, I feel the urge to re-watch Kong. 

The ferocious, gigantic ape of 1933 does look dated and a bit corny compared to today's special effects technology, but there is still a charm in seeing a "real" physical Kong... even though he's actually a small posable puppet figure... in action, especially when matched up against dinosaurs and other monstrous beasts. The close-ups of Kong's face and hand are the most revealing of the old less sophisticated methods, but if you can get past that stuff, then you've got a quality story with impressive animated sequences and a blockbuster adventure feel to the movie. 

The original Kong is considered one of the greatest films of all time. A more family-oriented Son of Kong sequel was released later in '33 to mixed reviews. Even I have rarely felt compelled to re-watch it, though stop-motion wizard Willis O'Brien works his magic yet again.

It's hard to improve upon such amazing visuals from 1933

It wasn't until 1976 that a true Kong remake hit cinemas across the world. Sure, Toho Studios brought Kong to life in 1962 for a battle with Japan's favourite monster, Godzilla, but that was a one-off... and that Kong was a disappointment. What did you expect with a guy in an ugly hairy costume scaled to be approximately the same size as his reptilian adversary, who ranged in height in his films (after a shorter version in the first Godzilla) from 300 to 400 feet tall. That disparity has always bothered me, though King Kong vs Godzilla is a goofy romp that one can easily enjoy if in the right frame of mind. 

The '76 version of Kong was pretty convincing even though he was a guy in a suit, Toho style - mind you, here the big ape has been scaled back down to his original 50-ish feet tall. I've always enjoyed this take on the classic story even though it has its haters. Though I forgot to include this King Kong in my At The Movies series, I do remember now seeing the movie in the theater with my pals upon its release. The story has its similarities to the '33 Kong, though it is updated enough to keep us locked onto a modern story with modern people and modern tall buildings (the World Trade Center, RIP) to scale. Jessica Lange, Jeff Bridges and Charles Grodin head the cast, and though the script isn't the strongest, I can always disengage from reality to accept the movie on its own merits. Perhaps the best thing about this Kong film is its thrilling musical score, composed by the legendary John Barry of James Bond fame. 

Now we must jump a few decades to the next Kong revival. This time, in 2005, we have lovely Naomi Watts as the female lead, opposite the rather curiously cast Adrien Brody. Jack Black doesn't fit in and sort of ruins key scenes for me. While I quite enjoyed the movie the first time around, on subsequent viewings I liked it less and less. This version of Kong is overly long, bogged down by unnecessary and kind of silly scenes... like the group travelling through the rocky pass where all the giant buggy critters clobbered and gobbled many of them up... and that bloody ice "skating" in Central Park bit. I blame director Peter Jackson for his penchant for bloated, ungainly films (Lord of the Rings excepted, for that really demanded a long running time and Jackson met the challenge). 

The special effects in this King Kong are stunning. It's been quite some time since I've watched it, but I don't recall hating anything about the film's visuals. Jackson got that right. Kong and all of the other giant creatures were state-of-the-art CGI, and pretty much knocked the socks off audiences at the time. It's hard to say how this would compare with a modern Kong.... I guess I can assess that once I see Skull Island. Maybe I'll see that sooner than later.

Kong has become a pop culture icon, recognizable in his various forms by generations the world over. And if you think about it, King Kong and an earlier Willis O'Brien project, the silent film The Lost World, kicked off and inspired giant monster movies for decades, and even today, we still love to see massive fantastical beasts on the big screen. Kong begat the American giant bug movies of the 50's, then Japan's busy Godzilla franchise (more than two dozen films) that stretches until present day. I guess Kong, though he has the same longevity as Gojira, remained an almost untouchable classic that movie-makers (mostly) avoided tackling, for fear of bungling the job and tarnishing the image of the great ape and our appreciation of the 1933 classic. There are those who accuse the '76 remake as an example of that, but I don't go for that. Even Jackson's Kong retained just enough respect for the original that I can accept it. 

1977 At the Movies - Spies and a Plane and Space Fantasies

It was on May 25, 1977 that the film of a lifetime came along. Star Wars! I can't recall exactly when I attended my screening, but I don't think I saw it right out of the gate. It was a warm summery day at the time, so maybe it was in June or thereabouts. My folks, my little brother and I were visiting grandparents. I guess there was a quiet afternoon at hand and somebody must have put the idea out there to see a movie. Maybe that was me. My mom and my grandma had no idea what they were in for as we settled into our theatre seats, but I sure did. I'd been following film production as best I could back then... reading updates in Starlog magazine. The movie far surpassed my expectations, blew my proverbial socks off, and set me on a course as a fan for life. Like nothing I or anyone else had seen before on the silver screen, Star Wars (not yet dubbed "A New Hope") followed the captivating galactic adventures of a farm boy. You know the rest....

Jumping back a few months in time, I took in Airport '77, one of the many disaster movies I would see during that era. Like Towering Inferno, The Poseidon Adventure, Earthquake, and of course, the first two Airport movies. I caught those other ones on TV, though. Anyway, this was disposable stuff, certainly entertaining and thrilling, but it didn't exactly make a big impression. I've never had any notion of re-watching these sorts of movies. 

In late summer, it was time to round up the gang for a rowdy outing. My friends and I took in The Bad News Bears in Breaking Training. We had seen the first Bad News Bears and knew we were going to get more of the same... cursing kids and baseball shenanigans. I suppose we enjoyed Breaking Training; it was probably funny at the time, but after that... forgettable.

That winter, in December roughly, my buds and I gathered again for a filmic spectacle, Close Encounters of the Third Kind. As with Star Wars, I had plenty of advance notice about this movie's production. I knew the director's name, a Mr. Steven Spielberg, who was responsible for the chilling Jaws, which I had seen two years earlier. Close Encounters was Spielberg's first foray into science fiction, but certainly not his last. Could this be his best - from a directing standpoint - of the genre? I'd say E.T. and Jurassic Park are contenders, and E.T. would likely win a popularity contest... a cuter alien, right?

Anyway, I followed Close Encounters in the news and magazines until I finally got to see it on the big screen. Wow... there really is no other way to see this movie. Big. The startling special effects and the climax (and its lead-up) are best seen in large format. What a classic! I sure do miss my Close Encounters poster, though... I had that on my bedroom wall as a teen, but it went missing after I moved out on my own years later.

Damnation Alley, starring George Peppard and Jan-Michael Vincent (a familiar face from that decade; one of Hollywood and TV's hardest-working actors) was yet another sci-fi picture that I'd heard good things about in advance through my beloved Starlog movie magazine. So when the movie rolled into town, I rang up my pals and we headed out to see this underappreciated post-apocalyptic tale. At the time, I thought it was a neat little story and even today, after a re-watch, I can still say it's a fun diversion. Sort of fond memories there. Here's my recent review of the movie: Damnation Alley. 

The Spy Who Loved Me - my first James Bond movie at the theatre. Excellent choice... a great fun adventure full of thrills and girls and guns and gadgets. The best of the Roger Moore (as Bond) films, Spy introduced us to the massive, hulking villain Jaws. No, not the shark. This be-suited human character sported large teeth of steel, perfect for crunching down on his victims' throats. Kinda weird and creepy actually, when you consider he could just snap necks with his thumbs. Anyway, Moore turns in a fun performance, nicely anchored by Barbara Bach (my favourite of all the Bond girls)... they had screen chemistry that was rarely rivalled in the Bond movies. Between the quiet spy stuff and the exciting action sequences, The Spy Who Loved Me was a hit with me and my pals. I've gone on to become a huge Bond fan and still hold this particular film in high esteem alongside the untouchable Connery entries in the series. 

1977 was a very good - and memorable - year for movies, between Star Wars, Close Encounters, and The Spy Who Loved Me. Two franchises still alive and well today in 2017. Thank the Maker!

Between the Covers - Part II

Good day to all! Once again, I'd like to slip between the covers and look at original songs and their cover versions. It's always a fun and fascinating process to analyse and compare re-workings of famous songs. Take a world famous tune that spans the generations like I'm a Believer. We've all heard it on TV, in movies (Shrek, most notably), grocery stores, radios, you name it.

From Neil Diamond to The Monkees to Smash Mouth (for the Shrek movie)...

only a few of the artists to record I'm a Believer

Yet few people know that Neil Diamond was the composer of the song and that he was the first to record it. Sure, the older folks who didn't know this (most did, I'd assume) just knew Diamond for his glittery shirts and chest hair back in the 60's. But the guy was a master songwriter, crafting hits for the biggest names in the business. Even in his earliest days trying to break into the biz, he was selling his songs to pay the bills. 

Neil Diamond's I'm a Believer recording instrumentally sounds much like the Monkees version we'd later love, but his rich, smooth baritone voice, stretching a little toward the upper register, didn't really ignite the song the same way our lovable simian-named band later did. The Monkees' multi-part vocals allowed a purer pop sensibility to shine through. Their much more radio-friendly version held the No. 1 spot on the charts for weeks. I prefer this take on the song, with its brighter percussion and electronic keyboard sound. And this was perhaps my favourite Monkees song on the first full-length record that I ever bought as a kid, More of the Monkees. Old Neil - well, young Neil at the time - sure had a gift; that song still sounds fresh and fun in its eternal durability as a 60's classic.

80's-oriented radio stations must still be playing Belinda Carlisle's I Feel Free. Even back in '87, that bouncy, glittery tune seemed to epitomize those carefree days. Though I wasn't really a fan of Carlisle or even that sort of pop music at the time, that song was everywhere and was hard to ignore. Some years later, I began to loosen up and appreciate lighter 80's fare, including that of Belinda Carlisle. Her Go-Go's work was fun if a bit rough around the edges, but its Top 40 appeal was unmistakable. I actually prefer Carlisle's solo music, mostly via her Best of Belinda: Her Greatest Hits album.

Belinda Carlisle feels free to cover a Cream classic... with class

Again, my ignorance led me to believe this song was Belinda's doing... hey, the vibe of the song fit so well, so why doubt that? But in fact, it was the 60's supergroup Cream who originally wrote and first recorded I Feel Free. I learned this, and heard that version, many years too late. Well, better late than never. Cream is a band that I had long admired for the few songs that rock radio stations played endlessly: White Room, Sunshine of Your Love, and Crossroads. Immortal riffs in those first two, and a kickin' jam on the latter. I even dabbled with White Room and Sunshine on guitar over the years. Anyway....

When I first heard Cream performing I Feel Free, I felt like I was hearing the song for the first time. This seemed to be a very different beast. There is so much going on here... layers and intricacies that lace the song with a hypnotic, very 60's quality - pop appeal with a sort of psychedelic wash. Jack Bruce's shouted vocals on verses contrast sharply with the gentler harmonies on the chorus. Also cool is the melding of Clapton's rock guitar with Baker's pseudo-jazzy percussion base. I can see how this song easily spans genres. 

Am I Evil? Say that to a metal fan today and chances are he or she will immediately think Metallica. But those giants of the genre were not responsible for the writing or original recording of that song. British band Diamond Head penned Am I Evil and put it to vinyl in 1980. The song was popular in the UK but it wasn't until '84 that it went international, thanks to a cover version appearing on the B-side of a Metallica single. A few years later, that cover was included on a re-release of Metallica's first album, Kill 'Em All. 

In Diamond Head's original recording, all the elements are there: overdriven guitars, big riffs and chords, bashing drums and cymbals. I really like this version of the song. It is cleaner and a little lighter - less low end and more mid-to-high end, kind of closer to an early Judas Priest feel... still metal, just not the massive raw mean sound of Metallica. Kind of sad that Diamond Head didn't export themselves out of the UK more successfully; there's a lot of talent there - and they definitely influenced the thrash movement that was to follow. Bands like Metallica and Megadeth wouldn't even exist without them.

Metallica, on the other hand, delivered a grittier, heavier, sludgier variant on Am I Evil. This was my introduction to both the song and the band Metallica. A new acquaintance gave me a cassette tape packed with early Metallica music. It took a little getting used to, but it wasn't long until I was totally sold on this band. And Am I Evil was among my favourite tracks. Hetfield thrust more anger into his vocal performance than we got on the original, which was sung more melodically. Everything here is amped up for the full thrash experience, brimming with aggression and violence. Metallica gives Diamond Head solid competition on their rendition of the song, but I can't say one version is better than the other... they appeal to me equally in their different ways, sort of like classic 70's heavy rock (Diamond Head, on the cusp of 1980) versus the next decade's more "extreme" thrash metal.

The Seeker became one of my favourite Who songs when I found a solid career-spanning compilation CD in the early 90's. I don't think I had heard it previously; not exactly part of the programming on the local rock radio stations as I was growing up... Baba O'Reilly and Who Are You were the regulars there. Yet The Seeker is such a catchy, guitar-driven tune.

Townshend's distinctive fuzzed-out guitar sets the tone, while we are treated to piano - and is that mandolin? - flourishes, plus country-clean solo licks and trademark Who vocal harmonies. An odd though effective combination that still spells rock'n'roll. The memorable chord progression is what I find most attractive about the song; I've tried, without much success, to hash that out on my own guitar, but hey, I don't aspire to be more than a bedroom guitarist.

Fast-forward thirty-four years: Canadian power-trio Rush drops their latest disc, Feedback, including a cover of The Who's The Seeker. Feedback is a fun trip through the 60's, a tribute to the bands that influenced and inspired Rush. The boys are respectful in their treatment of their favourite songs of the past, showing good taste and reverence in their renditions. It's nice to see such a variety of artists on there, too, from The Yardbirds and Buffalo Springfield to Eddie Cochran and, of course, The Who. In fact, this album was a first - never before had Rush released any recordings of themselves playing anything but their own music. 

On 2004's Feedback, we hear the roots of Rush... not far off the sound they displayed on their first album back in '74. And on The Seeker, we hear something that might have felt at home on that self-titled debut. There's a raw guitar approach, a stripped-down drum foundation, and Geddy Lee simply does his thing - his unmistakable voice works perfectly on this ancient gem. Since The Who really busied up their song back in '70, it was clear that Rush would not try to replicate the track in every way. After all, this wasn't an epic atmospheric piece like Xanadu that demanded attention to detail... The Seeker resembled more closely the basic heavy rock style that Rush took into the studio on their first record. Boiled down to the essentials of guitar, bass, drums, and vocals, Rush made it all work in a tight, lively, nearly garage band manner. But with a crisp and clean audio presentation, as per Rush standards.

Ciao....

Don't Worry.... Happy Songs

The mid-winter blues (or blahs, however you want to label 'em) are just starting to dissipate. Around here, we've had some sunny days to boost the mood and temperatures warm enough to melt some of the piles of snow. After a few months of pseudo-hibernation (I go to work and I pick up groceries... that's about it), my mind has finally turned to thoughts of spring-time, baseball season, T-shirts and sneakers. I'd love to chuck my heavy coat and boots into the back of the closet right now, but winter isn't quite over here yet.

In the meantime, I've compiled a little list of my favourite Happy Songs - fun tunes to get me through these dreary, grey, snowy, rainy, cold days. It really wears you down after a while. But music that makes us smile fills us with wonderful memories, moods and feelings, and that'll get us through anything. My choices aren't in any strict order, though the top bunch are definitely my faves, and the rest are arranged more loosely. You'll see a mix of rock and pop and dance and whatever else tickles my fancy, anything that brings an instant smile.... enjoy!




Tracklist:

Walking on Sunshine - Katrina and the Waves
I Believe In You - Kylie Minogue
No Tomorrow - Le Matos (featuring Pawws)
On the Horizon - Melanie C
Sister Moonshine - Supertramp
The Spirit of Radio - Rush
Don't Stop - Fleetwood Mac
Shout it Out Loud - Kiss
Jump - Van Halen
You're My Best Friend - Queen
Daydream Believer - The Monkees
Here Comes the Sun - Beatles
Don't Stop Believin' - Journey
Can't Beat the Feeling - Kylie Minogue
The Loving Kind - Girls Aloud
Rolling Back the Rivers in Time - Girls Aloud
Maybe - Emma Bunton
International Smile - Katy Perry
Birthday - Katy Perry
Suddenly Monday - Melanie C
I Woke Up in Love This Morning - Partridge Family
Shang a Lang - Bay City Rollers
Philadelphia Freedom - Elton John
Let Go the Line - Max Webster

"We belong...", sang Pat Benatar back in the 80's

Patio Lanterns - Kim Mitchell
Just Like Paradise - David Lee Roth
California Girls - David Lee Roth
Lady - Styx
Photograph - Def Leppard
Boys of Summer - Don Henley
Once in a Lifetime - Talking Heads
He Is - Ghost
Heaven is a Place on Earth - Belinda Carlisle
We Belong - Pat Benatar
Goodbye Blue Sky - Pink Floyd
Free Fallin- - Tom Petty
Take It Easy - The Eagles
Ah Leah - Donnie Iris
More Than a Feeling - Boston
Don't Worry Be Happy - Bobby McFerrin