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[Kingdom of Ice] EPILOGUE
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170 years ago, in a world where humans have evolved such that they could live on the ocean floor, and form cities there, Commandant Franklin led a hunting party on a reconaissance expedition north, traveling from the outer edge of the Indian Ocean, all the way to the High Arctic. His goal: to find the fabled Northwest Passages for the Vicegerent of Tridention, and establish business with underwater arctic cities there. But the expedition went awry, and they never returned. Everyone in the party was presumed dead.
When two of the hunters from that same expedition find their way back to Tridention after all these years, Watson, a retired commandant for one of Tridention's thirty-five hunting parties, agrees to help those hunters form a ragtag party of their own, against their leadership's wishes, and travel all the way back to the same Northwest Passages to recover the rest of the hunting expedition. The hope is that their commandant, and other hunters, are somehow still alive and can be brought back home safely. Watson's adventures to the High Arctic will be serialized across twenty chapters, with a chapter coming out every Saturday and Sunday starting from August 29th.
As always, if this is the first time you are seeing this serial and are interested in keeping up with it, please be sure to comment below with the following command 'HelpMeButler
KINGDOM OF ICE, EPILOGUE
He pulled the irons that were plunged into his stomach, from both sides. Then he tossed them inside the wreck, leaving them to float.
He turned around, struggling to keep himself afloat in the water. His own feet were giving in. But to his right were some of the defected whales. They limped, weeped, and moaned in their everlastingly insufferable pain.
Ulysses then drew out his own irons, crept up to another whale that was making sounds like no other. It was weeping so incessantly that Ulysses oculdn’t even hear himself speak. Through the suffering all the same, Ulysses approached it from above. It swam up to its head, found its snout, and then plunged his harpoon irons right through it.
Blood gushed atop him from the snout. The whale winced even louder, until it fell completely silent. Then Ulysses started to flense the whale with his own harpoons, even though it was not recommended.
He tore through its flesh until it got to the bones. Some of the blones flicked away from the carcass, having been bound by flesh and muscle beforehand. Ulysses barely kept his composure, dodging rib bones that hurled into the water above before they could smack him across the face. He got lucky, then pulled out one major bone. But before he would take it to himself, he tore through the entrails and the organs. He plucked them away from the whale body, and started to eat.
He could sense that the whale was ailing, but he had no idea from what. Most likely from the wounds he had ordered to be inflicted on it. Its suffering was drawn out, and Ulysses had to end it quickly so he too could survive. Cradled underneath the whale mother was its ailing child. It, too, grieved tremendously. He reached for the calf and killed it on the spot.
But Ulysses refused to eat the child, instead turning to the meatier mother, as he devoured and ate much of its muscles and organs, whatever was considered edible from the whale. It was the first time he had beluga for a feast, but he cared so little because his only concern was not dying starving.
He would get his wish and still more would be left for him to enjoy and feast on. But he was growing tired of staying in the Simecoa’s hull. He grabbed some more for himself, and left the whales to die inside the hull. Some of them already did. Those that remained, could barely move to save their lives.
Ulysses ascended to higher floors in the wreck, swimming through aisles and hallways, until he got out of the wreck and to the open water. The weight of whale meat didn’t make it any easier for him to lug around. Realizing he would be slow to escape the Gulf of Lawrence, he decided to eat as much as he could and hope it would sustain him.
He knew there was no turning back from the wreck.
Still, he had the whalebone. He drifted off into calmer waters. He was alone in them. Even the mounds and bushes that decorated the seafloor did not greet him. Ulysses felt as though Nature had cursed him to reclusion inside the Gulf of Lawrence.
But even with an ailing throat, wounds near his kidneys, and an ailing but full stomach, Ulysses was determined to live.
So he swam past the waters of the Gulf of Lawrence. His feet limped, and his strength waned greatly. Ulysses was growing frustrated, over the fact that while the water here was not as cold as the Arctic, this did not help him from speeding up.
Ulysses coughed against the water, breath slowly slipping away from him. Over time, he felt he needed to lie on the seafloor to rest. He frequently rested on the seafloor as he started to move about. And over time, he crawled over the floor. Crawling would soon not be enough to get him across.
While he lied on the floor and realized his fate was nearing his end, he grabbed the whalebone he had held onto for so long, drew out a knife from its scabbard, and started to cut through the marrow. His marks and etches left scratches against the whalebone, to create the words and letters of scrimshawing.
Ulysses quickly rushed to cut against the whalebone. He submitted to the currents, and they lightly carried him across the waters outward, to the vast Atlantic Ocean. While they did, he rushed to get his message across on the vertebrae of the one beluga mother he killed.
He slashed and cut through the bone just as ferociously as he had flensed the beluga from before. So much so that he accidentally cut himself. The cut on his fingers frustrated him, to the point that he tossed the knife into the distant waters. Some current would have likely picked it up, and he would never see his boarding knife again.
Water soon began to pull him northward, with a strength Ulysses only knew could be that of the Thermohaline. He slowly crawled leftward, to dodge the current. He got lucky and pushed himself up ahead.
The lighter currents carried him up north, and he continued to scrimshaw on the whalebone. The gradual cold tinged him when he knew it shouldn’t. Eventually he lost all the strength and will to carry on and simply allowed the water to move him around.
Ulysses knew this would be it, and thusly focused all his energy on relaying the message he wanted to on the whalebone. His arms started to give in, and his muscles weakened, enough that he struggled to hold onto the bone ever so dearly. The currents carried him lightly enough, until his back felt the sheer sting of a wall of freezing ice.
Screaming in searing pain, Ulysses collapsed onto the floor. Right behind him, he noticed a tall wall of ice towering right above him, the cold of which made his back nearly numb to any pain. He sat against the wall, and tried his hardest to finish the message he wanted to relay on the bone.
He scraped for a last bit on the whalebone, then he lifted it against his face and he tried to read it. Just as he uttered the first few words he scrimshawed on the whalebone, his hands slipped and the bone fell off of him.
The whalebone then drifted away along with the current. Ulysses stretched, trying to reach for the bone. But the currents were stronger and they cast the bone away from him for good. He then leant against the icy wall, hands and legs spread-out against the icy wall as he sat in the cold of the Arctic.
He stared upwards to the surface, his eyes screaming for mercy from Nature. But he knew he wouldn’t get it, because Nature never worked so miraculously and instantaneously. His wounds would fester and freeze in the icy cold, as would the blood that percolated out of him. The cold would soon sap all of Ulysses’ strength away from him, and he would collapse lifeless on the ice.
Ulysses burdened his body with the regret of many lifetimes as the ice took his life. He wanted things to go different for him, and nothing ever did.
“I forgive you now,” Ulysses said.
Ulysses wanted the cold to forgive him, as he fought to keep his eyes open and change the course of his life. But the High Arctic cast his judgment on Ulysses, and the verdict has deemed him irredeemable.
King Kong (1933) Part 2
With this step, the first half of the film ends. Now the quest will be reversed. Kong wants Ann. When he returns to the great wall to reclaim his bride, the intensity of his desire is so great that he, in effect, becomes the new main character of the film and his quest to get back Ann drives the film from then on. Following classic horror story form, Kong now becomes the object of sympathy for the audience while those who have sought to photograph and capture him, those of the civilized, modern world are shown to be far more barbaric than the tyrannical brute Kong.
Kong's desire to get back Ann dwarfs Denham's original desire to make an exciting film. Kong the animal has now seen human beauty in the form of the white girl, Ann, and he will not be kept in the animal world. Kong's pounding on the great door and his eventual breakthrough then is actually a moment of great liberation for the big animal. Like a people who have had rising expectations only to have them stripped away, Kong is driven to revolt and the wall that had been built to keep the king of animals out is now seen to be a prison to keep the animal within himself. But the animal will not stay within. The animal who was king of his world by virtue of brute strength and cunning will now attempt to rise to far greater heights by having seen
and possessed human beauty. His quest, ferocious in its expression, is still a gallant one. And once again intense desire is the driving force of all action.
Like all great horror stories, KING KONG tells of the difference and similarity of the human and the inhuman, in this case the animal. This film is a genesis film. It marks another view of the emergence of the human being, and does so within the context of stages and a continuum of biological and cultural evolution. Unlike the Genesis story, KING KONG states that the emergence of humanity comes from seeing beauty, not knowledge. Or more precisely, humanity emerges from the knowledge of human beauty. As in Genesis, the bringer of that spark is woman, but here the experience of the sexual "other" is the direct cause of freedom and death. This film, which is based on a number of old stories, from Theseus to JACK AND THE BEANSTALK to BEAUTY AND THE BEAST, is also like the oldest story we have, Gilgamesh. In that story, the black double and friend of Gilgamesh, the wild man Enkidu, is tamed and made human by seeing a naked woman.
Kong had never before broken through the great wall. But he had never seen what was possible. He had never seen the value of the human side. Now that humans have shown him what can be, and have broken the clean barrier between what is animal and what is human, Kong has an intense desire to break through to the human side. He wants to be part of the human community. And so he smashes the human wall and the animal is forever part of the human world. With that moment, chaos reigns. The distinction between human and animal was always arbitrary, but now the animal finally sees it as arbitrary.
But no sooner is Kong free then the master of the civilized world, Denham, has captured him again. Once more, Denham, the man of the over-civilized, uses technology, in the form of bombs, to stop the great ape. To the audience this is an ambivalent moment. Denham has stopped the rampaging beast from the terrible destruction he is wreaking on the natives. But now the audience also begins to see Denham in his true light as a killer of kings, as a killer of things far greater than himself. When told that chains won't hold Kong he answers, "We'll give him more than chains. He's always been king of his world, but we'll teach him fear. We're millionaires, boys, I'll share it with all of you. Why, in a few months, it will be up on Broadway."
Using the same technique of fear that Kong had presumably used to hold the villagers in check, Denham plans to break the spirit of the great beast by teaching him fear. Denham will justify his cruelty for the sake of money, for the sake of giving an audience a good show. No sooner does the animal break through than he is to be tamed and made small by the over-civilized who have forgotten passion and strength and get excitement out of life by watching the chained savagery of others.
Kong in Techno-Slavery
Like GULLIVER'S TRAVELS, the film reverses the process in which the people were small in Kong's savage world. Now Kong comes to the man-made jungle of the city, and in this world he is the one who is dwarfed. Befitting the vast philosophical distinctions on which this film is based, the story has gone from one point on the evolutionary range to another. In this city world, Denham, the king of the city because he gives the people a show, chains Kong to a huge cross and places him on stage. Chained to the cross, Kong is not really a Christ figure. With the great king standing before the little people of another world, Kong is a Samson who has lost his power through the love of a woman and has been reduced to performing in chains for others. Just as each major section of the story has been based on a myth or a fairy tale, so is this final section based on the myth of Samson.
While Jack and Ann wait for the show to begin, they continue to show a lack of awareness about Denham's moral stature. Jack is still concerned about Ann's safety, but he believes Denham's assurances that everything will be all right. Ann, forever loyal, feels that she had to be there to make sure that Denham made money on the show. She has little concern for what is being done to Kong. This lack of moral awareness on the part of Jack and Ann - and possibly on the part of the dramatists - continues when Denham and the photographers gather around. The reporters typically are concerned only with the simple heroism of Ann's escape. Ann says Jack is the hero. Jack gives the honors to Denham and Denham, repeating his beauty and beast theme, says it was Ann who brought the great beast out.
As the people file in to take their seats, they make it clear that they have seen everything. This is a jaded crowd. But they are wowed by the sight of Kong. Denham, ever the confident showman, tells the audience they've knocked the fight out of Kong and captured a king.
He states that twelve brave men lost their lives capturing the beast. But again Denham's moral failing shines through. He comments on the twelve dead men not because of his concern for them, and certainly not because he takes responsibility for their deaths. Rather, he wants to make the show more exciting.
Then Denham makes his great mistake. He calls in the photographers to snap some pictures of Ann and Jack in front of the beast. The lights flash in Kong's eyes and he begins to struggle. This is techno-light, another tool from the future that Kong does not understand. The flashes are like little bombs, and Kong fights back, breaking his chains and attacking this comfortable, jaded world.
Now Kong is loose in a civilized jungle, and immediately it too becomes a state of nature. Kong, looking for Ann, grabs a woman in the apparent safety of her bed. When he finds she is not Ann, he kills her. A train roaring through the city on elevated tracks becomes another snake, in this case a mechanical one, for Kong to destroy. Throughout this final battle, Jack again is Kong's main opponent. Jack tries to hide Ann, but Kong finds her and takes her back to be his bride.
Kong has the beauty he desires with Ann once again in his hand. But he is no longer a king. He is a slave surrounded by strange, tall buildings and hunted from all sides. He escapes in the only way he knows how, by climbing a tree which, in the city, is nothing but a very tall building.
Jack, the ever-resourceful opponent, has an idea. He alone figures out Kong's great weakness. His idea is to bring in the fighter planes, the techno-birds. Continuing the parallel from the first half, these planes are like the pterodactyl that tried to grab Ann in Kong's lair. But these planes are far smarter and deadlier than any prehistoric bird, and they come in greater numbers. In this technological state of nature, even as powerful a fighter as King Kong is no match. The battle is unfair, and the audience's sympathy for this lost creature soars.
The planes bear down and fire. Kong grabs one that flies too close and destroys it. But the bullets from the others are too much. Kong's responses to the attacks by the planes represent the height of humanness that Kong has achieved. The tilting of his head, the confusion at the blood, the anguish at the pain, his sense of being
trapped, his concern for the safety of Ann all are intensely human responses. High above the Empire State Building, the audience sees a shot much like the crucial shot high above Kong's lair. Again Kong is at the heights with the water in the distance. But now he is trapped, the over-civilization that was in the distance before now pressing in on him from all sides.
Finally the great animal-man falls to his death. On the ground, people gawk and someone mentions that they have captured the monster. These are the little people who know nothing of the greatness before them. Denham sums up the story with his usual line, "It was beauty killed the beast." In saying this line, as throughout the film, Denham is presented as an authoritative figure providing the main commentary on this creature. But in fact, Denham still has no sense of his own responsibility for the terrible destruction in the story.
Denham' s lack of self-revelation and failure to take responsibility represents a major lack of awareness by the film's dramatists. Part of the problem comes from the flip of the main character midway through the film. Kong, though extraordinary, is an animal and is dead. So he certainly cannot have any self-revelation about his own situation. Nor, of course, has he made any great moral choice during the film, except possibly to put Ann down before he dies. Denham is technically no longer the main character so the dramatists have no formal requirement to have him come to any understanding about his role in the tragedy. Still, Denham's quest has been the overriding framework of the picture. If the dramatists had shown Denham's lack of awareness in a more extreme way, one could say that that lack of awareness was indeed the dramatists' main point: when the main character does not learn and does not move to a higher plane at the end, then that in itself can be the main thematic point of the film.
But here, as throughout the film, Denham is not really shown in a negative light or in an extreme way. He is always the forceful man of action, the man of command, and Kong's death is simply the unfortunate result, says Denham, of Kong's own love of beauty. Thus the question of responsibility and awareness is deflected onto something that cannot speak for itself. Nor is there any hint that the dramatists are presenting an attitude of intense ambivalence. Denham
is shown to be a man of action, but a bit too risky, and Kong is shown to be a violent, destructive creature with some sympathetic qualities at the end. But the issue between the two characters, the central argument that these two characters represent on either side, is never brought to a head or made clear throughout the entire film.
Although the superficial moral argument is the greatest flaw in this film, other flaws stand out as well. The acting by all of the main characters except for Kong is wooden. I would like to be able to say that that was done to let Kong's humanity stand out, but I can't. More serious problems are the chauvinistic and racist attitudes embedded in the material. Showing a continuum of the different stages of biological and development is all very interesting and valuable. But there is no reason for the ideal individual to be a man who hates women, and no reason to have a heroine who is barely able to sneeze without having to be saved by some strong man. Of course that comes with the fairy tale territory, but that doesn't lessen the flaw. I don't think I am being extreme when I say this film has racist overtones as well. The natives are presented as ignorant savages who are so depraved they sacrifice women to a giant ape . Even worse, they decide that one white woman is worth six black women, and Kong apparently agrees.
The First Film
Still, KING KONG, when seen as a whole, represents nothing less than the 'first film." Of course I don't mean first historically or technically, although it was an early talking film. Rather, KING KONG is the first film thematically, artistically and cinematically.
Thematically, KING KONG takes as its central distinction the difference between animals and man. Man is a being with the ability to project a dream and to extend his power into other worlds, to adapt to those worlds and even master them and bring the beings of those worlds back into his own. Animals, even one as great as Kong, cannot project or choose or adapt when they must make a revolutionary jump from one world to another. But man is not supreme. For while he can project, he cannot know the quality or consequences of his projecting. And while he can extend his power and create revolutionary possibilities, he cannot control that extension or keep it from becoming destructive.
Having made that distinction, the film makes the more important point that man and animal are in many ways the same. In an ingenious use of the storytelling structure of the horror genre, the film shows not only that man is animalistic in his ferocity, but also that animal, especially ape, is humane in his ability to love, appreciate beauty, care and protect.
The interpenetration of man and animal can perhaps best be seen when viewing KING KONG as a kind of GULLIVER'S TRAVELS. In the first part of the film, similar to Gulliver's trip to the Brobdingnagians, the men enter the world of giant animals and become miniature. Here the animal world and the animal in man is the world of competition to the death, the state of nature and the law of the jungle. One is always being hunted and the valuable is constantly subject to theft and destruction. When Kong is brought back, the sizes flip and he enters the giant world of men, New York City. Suddenly, he is the miniature, at least when compared to the massive skyscrapers and the millions of people and the giant birds that shoot him down. Here the city, the world of men, is also a jungle, because all that is not normal is named a freak - to be chained, photographed, hunted and finally killed.
Having presented this broadest of all frameworks, of animal versus man, the film then extends the idea of evolution from the biological to the cultural. It presents the stages of man along with the stages of animals as being one broad continuum. There are the primitive dinosaurs, then the far more advanced king of the natural world, Kong, "primitive" man in the form of natives, "natural" man, Jack, and finally the glib man of the modern jaded city, the showman Denham.
Having presented this continuum, the dramatists then choose their ideal level of evolution. Not the final stage, the stage of the modern city represented by Denham. But rather two of the stages in the middle. They give as their first hero and ideal, of course, natural man, Jack. But they also have great sympathy for the tremendous power and passion of the giant, intelligent ape, Kong. To the writers, the natives are too backward to merit any consideration at all. And most of all the writers mourn the rise of the little people who fill the big city and they mourn the fall of the "king."
Here, of course, the dramatists are not making a point about apes, but rather about greatness in man and the role that a particular
kind of masculinity has in bringing on greatness. The film makes the somewhat dubious claim that greatness can only be achieved and maintained by the strong, brave, even ferocious natural hero who avoids woman at all costs. Otherwise he will be chained and hunted by the millions of little people who are jealous of his strength or he will simply decay into another one of the jaded, purposeless millions. The film also claims that if a man has to fall in love, he should do so with a woman who looks up to him as her protector and who also likes the thrill of dangerous and "manly" situations. The film says: Beware the process of being tamed.
The far more interesting expression of this evolutionary framework in the film is the idea that one's identity and behavior are determined, or at least strongly affected, by the world or structure within which one lives. Kong is a ferocious animal in the state of nature within which he lives, and within that structure he can be master of that world. Jack is the confidant commander within the male world of the ship. Denham is the showman concerned with satisfying other people's desires within the world of the city. But in the animal world, Denham is simply an immoral, destructive tyrant. In the world of love, Jack is a bumbling embarrassed little boy. And in the big city, King Kong is nothing but a caged animal who can only rampage until he is killed.
Artistically, KING KONG is the "first film" for two reasons. First, it is based on the simplest, most basic story forms, that of myths and fables. These myths have a profound power in a movie, not so much because the viewer recognizes the particular story which the film is copying. Rather they have power because they present the primary relationships, weaknesses, and consequences of human life and are concerned with the basic raw distinctions such as that between beauty and beast, man and animal, life and death.
Second, KING KONG ties this mythical structure to that of science and particularly the science of evolution. Here the film is attempting to bridge the false gap between our naturalistic understanding of the world - a recent but undeniable phenomenon - and the mythical truths that still hold true. And indeed in this film, the evolutionary and the mythical are not contradictory at all but complementary; a beast turns into a beauty, a Jack steals from a giant high up in the sky, the hero kills a half-man, half-beast tyrant and a powerful king is destroyed by his love for a woman all because one evolutionary stage invaded another. The phrase "evolutionary fable" is here not a contradiction in terms. Those mythical stories tied to an evolutionary perspective provide the broad, artistic framework within which all human drama can and does occur.
Finally, KING KONG is the "first film" cinematically because it combines cinema's unique abilities: to create and realize distinct worlds through photography and art direction, to contrast those worlds at the speed of light, to present action on the largest, most universal scale and to create suspense. In short, this film helps define what movies can be.
KING KONG shows that the suspense and popularity of a B serial is in no way contradictory to the expression of deep, philosophical ideas. A film dramatist can certainly go beyond KING KONG, but he or she is always wise to begin with it, and to go back to it many, many times.