Congo
I needed a reading assignment for English class the Spring semester of 1995 for high school, and I chose Michael Crichton’s Congo, mainly because Frank Marshall’s adaptation was coming out that summer. I was very much into my movie love at this time, and I started reading novels that were being adapted for films. It wouldn’t last, but I’ve definitely wanted to get back to it over the years. When Marshall’s film came out, I was pretty disappointed in the adaptation of the material, but still enjoyed the movie. It’s been a while since I’ve read the book- and until its 4K release, it’d been almost as long since I’d watched the film- and I can’t quite remember what it was about the adaptation I didn’t like (mainly what was missing), but I understand better the idea of adapting from one medium to another, and how some things work in one medium but don’t in another. Does anything in Marshall’s film work at all? That was part of why I wanted to rewatch it.
Unlike “Jurassic Park,” which has a pretty straightforward narrative with specific motivations, I forgot how convoluted “Congo” is. This isn’t to say that the screenplay by John Patrick Shanley is hard to follow, but I had forgotten that the main characters in this film didn’t really come together for a single purpose, but everyone had their own reasons to go into the Central African jungle. The film begins with Dr. Karen Ross (Laura Linney) connecting with her fiance, Charles (Bruce Campbell), on an expedition to retrieve some special diamonds for billionaire R.B. Travis (Joe Don Baker). While on the satellite call, something attacks the camp, and Travis wants to send Ross to get the diamonds for him; she wants to get Charles. So how does she get connected with a scientist, Dr. Peter Elliot (Dylan Walsh), who’s taking his talking gorilla, Amy, back to the jungle, with the backing of a philanthropist (Tim Curry)? They happen to be going to Africa at the same time, and she can provide funds for fuel.
The sheer coincidence at the heart of this narrative is just one of the reasons “Congo” is such a deeply goofy movie. Sadly, the magic of “Jurassic Park” just didn’t quite translate to this film, which has cheaper visual effects and production design, as well as leaning into adventure movie cliches about African culture that really do not age well. The cliches are the point, though, but that doesn’t mean seeing African guides and tribes be seen as disposable plot devices with the white characters at the center is any easier. Well, there is Ernie Hudson as Captain Monroe Kelly, the group’s “great white hunter,” with the actor trying to outdo Curry in hamming up his performance. (I’ll never forget one DragonCon when Hudson claimed he “out Curried Tim Curry” in this film. I’m not sure I agree, but it’s fun to watch him try, nonetheless.) Can you imagine a redo of “Congo” now with a performance capture performance of Amy, the main ape, instead of an animatronic character? Hell, a stop-motion version might have made for a more natural, and less ridiculous, main character. There are things to enjoy about “Congo” 30 years later, however. I really like Linney in the lead- this was my first time seeing her in something; the story- however coincidental- is still a fun B-movie romp; while it’s visual effects are not nearly on the same level as “Jurassic Park,” there is a charm to the silliness of them; and Jerry Goldsmith really delivered a strong adventure score for this film. If you haven’t watched it in a while, it’s worth revisiting just for how ridiculous it is.
