King Kong's mixture of the banal and the exotic, of conscious self-reflexivity and naive dreamstuff, entranced the Surrealists. Jean Ferry, "Concerning King Kong" (1934): "...whether the monster is real or false, the terror he provokes takes on no less of a frenzied and convulsive character through its very impossibility...Through the absurdity of its treatment (an inept script with numerous incoherent details), its violent, oneiric power (the horribly realistic representation of a common dream), its monstrous eroticism (the monster's unbridled love for the woman, cannibalism, human sacrifice), the unreality of certain sets-or, if you are incapable of letting yourself be taken in by all that, by the acute sensation of unheimleich with which the presence of automata and trickery imbues the whole film-or better still, in combining all these values the film seems to correspond to all that we mean by the adjective 'poetic'..."