Some Cinema Beards will look upon Kong optimistically and declare it the ultimate love story. So honest but without the pretensions created when a woman falls in love with a man, the monkey love story creeps upon the viewer as they are not expecting it. True love wears different masks, not all of them recognisable to modern cinema audiences, as sophisticated as they are. It works on different levels too, the Cinema Beards might argue, the story highlighting that physical differences need not mean that beings carry disparate souls.
But the Beards are incorrect as these metaphors can't actually exist in realistic terms. Kong is not about love, but is in fact a fantasy allegory created by the WHITE man to describe the BLACK mans rise in society and predicting their eventual and inevitable (some might argue) downfall at the hands of the all powerful WHITE woman. What follows is the main plot points unveiled from their fantastical allusions, shining light on the truth. Please, those that have not viewed this movie, look away now to spare yourself some enjoyment.
Firstly, the WHITE man arrives on foreign soil inhabited by locals easily identifiable by their dark skin, dirty appearance and savage ways. There are no churches found. But as savage as these beasts are, the WHITE woman fears none. Blonde hair, blue eyes, a more exotic creature has never been witnessed. The BLACK man has no other course of action but to defend her loyally from what monsters roam about, such as the manic giraffe, and then weep gently as the WHITE woman reveals herself to the BLACK man in all her glory.
Now, the WHITE man takes advantage of the dark skinned ones momentary lapse into subservience, cages him up and transports him back to the Holy land to make a hard worker of him. The potential is seen by the clever WHITE man to make greenbacks and impress his rich peers with the BLACK man's broken spirit and strong back. In the film, this is represented by Carl Denham chaining KING KONG in the theatre for the amusement of those who could afford to attend it. It was the 1930's after all, when America was plunged deep into a depression.
Finally, the BLACK man develops a sense of memory while serving creatures further developed than he, and he remembers the WHITE woman who stole his red, beating thing back in foreign place called homeland. Obviously, having the history for such, the BLACK man goes wacky and tears up city streets all violent like searching for the pink thing with the pointy nose, not flat at all. There are a lot of WHITE women around so, needless to say, some get raped but eventually the BLACK man finds his quarry and... well, this is where the film becomes more fantasy than reality as no WHITE man would waste the price of a bullet to shoot at the BLACK man. Long to short, the BLACK man falls hard.
But the film should be forgiven it's racism as such points of view were inherent in 1930's society, a time when the BLACK man served the WHITE man without any lip. The ending does attempt to foreshadow what it saw as inevitable, the decline of BLACK society, but does paint a tragic picture of it's hero Kong or, without the veil, the BLACK man. This almost Romanic disintegration has not happened of course, and is unlikely to happen, but the film still stands as a historical document revealing the tastes of the time in eighty brisk and exciting minutes. Or one hundred and eighty minutes, depending on your preferred version.