Ugh, sorry about the lack of posting. Apparently, manipulating speaker wire with part of your left hand in a splint is a lot more time consuming than you might think. Anyway, a reader sent me this essay by a conservative writer on the "values" of King Kong, "values" being a code word meaning "my sexual fantasy that I assume all men share". It's about how if women could just unlearn how to act competent and strong and instead shake in fear like Chihuahuas, we too can when a monster movie monster of our very own to love.
Naomi Watts is perfect in the Fay Wray-role. As Ann Darrow, she projects a waif-like vulnerability and innocence, combined with gritty determination and a sweet empathy with the 50-foot title character.
When we’re introduced to her in Depression-era New York, she’s an aspiring actress who has just lost her gig as an acrobatic dancer in a vaudeville show.
Hungry and discouraged, she turns down a chance to perform semi-nude in what used to be called a girlie show.
Ah yes, back in the old days when even sexual displays for money were more innocent because they had a different name for them. Sure, they were still women getting naked for crowds of drunk men and often prostituting themselves after the show, but there was different slang for them then, which makes them more innocent. Because change always spoils.
This perception is reinforced in Watts’ meeting with the director who wants to cast her in the lead of his “jungle movie.”
“Can you fit into a size-6 dress?” director Carl Denham (played by the hammy Jack Black) asks Watts, who assumes he’s interested in a more personal relationship, gets up to leave. In reality, the director wants to know if she can wear the clothes of the actress formerly cast in her part.
Early on, we sense a purity and principle in Watts’ Darrow. Therein lies her charm and her appeal for males of all species.
Males of all species can only be aroused by women who radiate pure virginity. It helps if they look like they'd break in half if you hugged them, much less did anything more strenous. We know this is true because "girlie shows" where women flaunt their bodies get no male audience at all, since those men are all out seeking out someone virginal and breakable to do god only knows what with. Stare at her, I guess.
Like courage, Hollywood seems capable of portraying feminine virtue only at a safe distance--at least a half-century in the past.
That or conservative writers who follow the principle that you can tell how good something is by how far in the past it is can't imagine that anyone in modern times would show something like virtue. How could they? They have modern clothes, which automatically disqualifies you from the gates of heaven.
Feminism supposedly having liberated us from gender stereotypes, today’s heroines are emotionally androgynous. They compete with men, pursue them sexually--essentially, they are men (and not the better sort) with breasts and vaginas.
Men with penises are the better sort, I guess, but you already knew that. But I love the notion that in the past in order to be androgynous, compete with men, and pursue men sexually, you had to have a penis. Good god, if men were so busy pursuing each other, how did our species reproduce itself? Don here should be grateful women have decided to pursue men--with men only pursuing each other, there would be a serious chance that our species would die out altogether.
By being what she is, Darrow sends out subtle signals to the males around her: here is a lady who must be respected and protected. By exhibiting feminine virtue, she elicits masculine virtue--even in the scruffy crew of a tramp steamer.
When Darrow is kidnapped by Skull Island’s bestial natives--who behave like congressional leftists pushing a spending bill--the men on the ship (including the screenwriter who falls in love at first sight of her) mount a rescue mission.
Even the ship’s seemingly callous captain (who threatens to strand the rescue party when their time-limit expires) in the end breaks out the Tommy guns to save “Miss Darrow.”
Members of the film’s and ship’s crews die battling the island’s fauna, but her survival--as the woman who must, at all costs, be protected--outweighs their own.
Wow, those guys sound great. If female vulnerability elicits this sort of reaction all the time, I wonder why this group of feisty rescuers doesn't appear in the real world when women are suffering beatings at the hands of abusive partners or getting raped. A shitload of sailors who adore you is just the sort of thing a woman needs when getting punched or thrown around or even raped by a man who feels entitled to control her. Would it help the rest of us who aren't movie characters get this rescue treatment if we just wore 30s-style fashions?
Kong reacts the same way.
At first, Darrow is just a pretty toy. The hirsute brute demands that she constantly entertain him. Gradually, a bond forms between them. It’s not just that the diminutive creature (so fragile in his world) fascinates him. She manages to touch his soul.
So, in other words, keep putting on a show, ladies, and any day now all your exertions will result in being pampered and spoiled. Any day now. Shortly after the hoardes of sailors show up to rescue you.
Back in New York City, the captive Kong is on display as the “Eighth Wonder of the World.” The smitten beast breaks his bonds, examines and discards the blonde playing Darrow in the show to which Black has subjected him. He will accept no substitute for authentic femininity.
God only knows why this woman isn't authentically female. Probably because she accepts a paycheck for work instead of busting her ass for intangible rewards that never come. The lesson is clear, ladies. If you give into the temptation to make your own money, next thing you know, you won't be hauled off by the first monster that looks at you sideways. I know. I can hear your hearts breaking.
Kong rampages through downtown Manhattan searching for the real thing. When he finds Darrow, he carries the not-unwilling actress (who cried when he was captured) to the top of the world’s tallest building. Together, they stare in awe as the sun rises over a jungle of concrete.
You know the rest.
Let me guess: They then retreat to her apartment and discover that because his cock is bigger than her entire body, there's no consumating their strange love. Biology forces her to retain her "purity", but for some reason, they're frustrated and annoyed. But don't let that turn you off on the erotic appeal of "purity".
In a way, all men are King Kongs: powerful, brooding, potentially destructive creatures waiting for a woman to touch their hearts and tame them.
All men? What about the endless stream of cultural warriors I read, who strike me as self-righteous, domineering assholes who want everyone to obey them unquestioningly. Are they not men? I'm confused--aggressive women are men, but male bullies aren't men? And we're supposed to figure out how to ban same sex marriage in this enviroment?
And all women are Ann Darrow, simultaneously fragile and compelling, possessor of the magic to transform primitive males (monsters-in-waiting) into protectors and the builders of families and civilizations.
I'll admit, I haven't seen King Kong, but I'm going to go out on a limb here and guess that the monster doesn't actually turn into Ward Cleaver at the end. If he did, well, that certainly would be an ending I didn't anticipate.
But, the movie seems to say, modernity can be the undoing of both. It seeks not to civilize but to shackle male instincts. It turns love into a sideshow attraction. It pulls men and women apart.
A whole lotta bullshit to cover up the same old conservative male complaint--if women aren't forced by society into subservience to men, how will men even get women to tolerate them? For some reason, being pleasant and desireable never occurs to them as a solution to this condundrum.