A film crew goes to a tropical island for an exotic location shoot and discovers a colossal ape who takes a shine to their female blonde star. He is then captured and brought back to New York City for public exhibition.
In 1933 New York, an overly ambitious movie producer coerces his cast and hired ship crew to travel to the mysterious Skull Island, where they encounter Kong, a giant ape who is immediately smitten with leading lady Ann Darrow.
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
It took a year after the actors and actresses were finished, for Willis H. O'Brien to finish the effects work, and Merian C. Cooper to get the film put together. Between her work on this picture and its release, Fay Wray made four other films. See more »
Fifteen men chase Kong through the forest. At the end of the pursuit, only Driscoll and Denham are leftover. Nevertheless, when Denham speaks to the audience, he tells them "twelve of our party met horrible deaths". Thus, one man disappears. The explanation: A deleted sequence between the encounters with the brontosaurus in the swampy lake and Kong at the fallen-tree bridge across the ravine. In it, the survivors of the first incident meet three triceratops, and undoubtedly the other "horrible death" occurred here. Armstrong-as-Denham's line, having been shot in early 1932, could not be altered to allow for the cut. 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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