board77

Eruname, in another forum, wrote:

... one moment where Ann appears in an Arwen-like moment...all lit up from behind.

I noticed this, too. Not only was Naomi Watts lit from behind, she was wearing a white dress that fluttered in slower motion as she approached Kong. There was a second "Arwen" moment as well, when the crew is capturing Kong and there's a close-up of Naomi Watts in one of the lifeboats. Again, the camera time slows and the shot is taken from a slightly lower angle (I believe), showing Naomi with red-rimmed eyes and a single tear dripping down her cheek. It was a near-direct, visual parallel to the "Arwen's Fate" scene in LotR when Elrond warns her of her and Aragorn's mortality in Middle-Earth, no matter what the outcome of the War of Ring.

Were there any other script or visual parallels between King Kong and the LotR films that you noticed? If so, what were they?

(Everytime I saw the captain's profile I kept thinking "Faramir")

Tinsel_the_Elf wrote:

Eruname, in another forum, wrote:

... one moment where Ann appears in an Arwen-like moment...all lit up from behind.

I noticed this, too. Not only was Naomi Watts lit from behind, she was wearing a white dress that fluttered in slower motion as she approached Kong. There was a second "Arwen" moment as well, when the crew is capturing Kong and there's a close-up of Naomi Watts in one of the lifeboats. Again, the camera time slows and the shot is taken from a slightly lower angle (I believe), showing Naomi with red-rimmed eyes and a single tear dripping down her cheek. It was a near-direct, visual parallel to the "Arwen's Fate" scene in LotR when Elrond warns her of her and Aragorn's mortality in Middle-Earth, no matter what the outcome of the War of Ring.

Were there any other script or visual parallels between King Kong and the LotR films that you noticed? If so, what were they?

(Everytime I saw the captain's profile I kept thinking "Faramir")

I kept thinking the captain was Faramir as well.

I agree on the backlit scene; I don't remember the other specifically.

How about the relationship?

Kong:

A human female (a "higher" being) loves an ape (a "lesser" being) who lives in the wild but is a King in his own domain. He is a matter of legend, and a lost civilization, and deep time. He wins the girl, and then believes he lost her (she escapes), and then wins her again (saves her from dinosaurs). He falls over a cliff during a battle in which she figures prominently. He is brought into a position in a great city when he would have preferred to remain in the wild (duh). His death is inevitable, and she is inevitably bound to his fate.

LOTR:

An elven female ( a "higher" being) loves an man ( a "lesser" being) who lives in the wild and becomes a King. He is a matter of legend, and a lost civilization, and deep time. He wins the girl, and then believes he lost her (tells her to go to Valinor), and then wins her again. He falls over a cliff during a battle (Wargs) in which she figures prominently (as a symbol--the dream, the evenstar etc). He is brought into a position in a great city when he would have preferred to remain in the wild (he has chosen exile). His death is inevitable, and she is inevitably bound to his fate.

BrianIs AtYou

The fundamental things apply, as time goes by

Sorry I missed this one.

Directorial techniques tend not to vary when the director is the same...

Did they have the same cinematographer too?

Dunno...