In KING KONG, the relationship between Ann and the giant ape is everything. The men around her adore her and even indulge in heroics to save her, but none is so compelling a personality as the gigantic gorilla who comes to love her. Like the 1933 original film, Jackson's adaptation examines the excesses and vagaries of show business. What sets Jackson's movie apart from its predecessor is its characterization of Ann as courageous and her insight when she is grateful for Kong's protection. In this version, it's not "beauty that kills the beast," but greed, meanness, and fear that destroy his admirable "nature" and emblematic manhood.
While the movie demonizes the black natives who throw back their heads and chant during their ritual to sacrifice Ann to Kong, it also offers a complication in the ship's courageous, sensible, and black first mate, Hayes (Evan Parke). It's telling that Hayes does not see the reenactment of the tribal ritual as Denham's stage show, populated by performers in overtly offensive blackface. If this scene illustrates the movie's awareness of the problem (the crude translation of blackness by a white "producer"), it's not quite a resolution. Neither is the relationship between Ann and Kong, though she tries mightily to do right.