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 is 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
Producer/director Merian C. Cooper had been a wrestler as a youth, and special-effects chief Willis H. O'Brien had had several amateur boxing matches. This experience is evident in Kong's fight with the allosaur. Kong puts his left paw up to guard his face, as a boxer would do, as he hits the allosaur with a right cross. Kong also uses the well-known wrestling moves "trip-out" and "snap mare" during the fight. Kong finally wins by climbing on the allosaur's shoulders and pulling its jaws apart. This move would later be popularized as the "Rocca Ride" by professional wrestler Angelino Rocca in the 1940s. See more »
In the scene where Kong shakes some of the men off a log, when the men first run across the log, 4 of them make it all the way across, but when Kong confronts them, they are all back on the log. 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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