In 1933 New York, an overly ambitious movie producer coerces his cast and hired ship crew to travel to mysterious Skull Island, where they encounter Kong, a giant ape who is immediately smitten with leading lady Ann Darrow.
Feature film examining the existence of films in which people are murdered on camera and the culture surrounding them. Through interviews with former FBI Profilers, Cultural Academics, and ... See full summary »
Paul von Stoetzel
Larry C. Brubaker,
In this action comedy, Jack Goldwater, an IRS agent on loan to the Federal Air Marshal Service, is relieved of field duty after insulting a powerful U.S. Senator, and finds himself exiled ... See full summary »
J. Neil Schulman
Carl Denham needs to finish his movie and has the perfect location; Skull Island. But he still needs to find a leading lady. This 'soon-to-be-unfortunate' soul is Ann Darrow. No one knows what they will encounter on this island and why it is so mysterious, but once they reach it, they will soon find out. Living on this hidden island is a giant gorilla and this beast now has Ann in it's grasps. Carl and Ann's new love, Jack Driscoll must travel through the jungle looking for Kong and Ann, whilst avoiding all sorts of creatures and beasts. Written by
Although many film historians insist that a spider pit scene was never shot much less previewed, at least 3 production stills do exist showing the miniature ravine complete with at least one spider and a crab creature, both of which are menacing miniature sailors. There was one person who claimed to have seen the first preview screening who said that the spider pit scene was in it, and the audience laughed at large bug-eyes on a spider model - he felt that this unintended laugh was the reason the scene stopped the film and was cut. See more »
During the log scene, Driscoll climbs into a cave on the left side of the screen. When he climbs out, he is on the right side. See more »
First, the 1933 version of KING KONG, is for me, the greatest fantasy film ever made. Sure, there are fantasy films with far better special effects (THE MATRIX, JURASSIC PARK) better acting (the acting here is of the period!) but KING KONG is a film of tremendous excitement. The suspense, pacing, sensuality, violence all adds up to a blood pumping experience. We all read about the film's history, being made, released, censored, restored, and how it's been picked to itsy-bits by every arm-chair film "expert".
What very few film-makers have focused on is the film-making itself in KING KONG. It has superb build-up. We are wondering what is on the island as we approach it. Then we wonder what is behind the wall on the island. Then we wonder what gigantic beast is sharing that frightening jungle with the rescuers, trying to save Fay Wray. The film is faultlessly edited. Many scenes begin or end with people running for their lives. Unneeded scenes just don't exsist (we go from Kong knocked out on Skull Island to his Broadway debut. We don't need to see what happens inbetween!) then there's Max Steiner's perfect music score. Before KONG, most music scores were borrowed snippets of classical or popular themes, but Steiner's score follows the action to an inch! Also, he does a great number of abstract musical strokes (I.e the clash of drums when Kong beats the giant snake to it's death. The lovely string piece that jumps to pulsating chase music in a milli-second.) When I hear of a friend say they never saw this film, it's like hearing a child say they never had ice cream. Long Live Kong!
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