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.
King Kong is brought in by an evil ruler to dig for precious gems in a mine when the robot MechaKong is unable to do the task. This leads to the machine and the real Kong engaging in a tremendous battle that threatens to level Japan.
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
It has been said that this was the first Hollywood film to use a fully symphonic musical score. As memorable and effective as the musical score was, some have made the same claim about RKO's Bird of Paradise (1932), released earlier (perhaps that claim should be revised to "the first memorable film . . . "). Regardless, Max Steiner, composer for both films (and many later classics, including Gone with the Wind (1939) and Casablanca (1942)) was a visionary, forward-thinking man. One of the legends surrounding this film is that director Merian C. Cooper paid Steiner from his own pocket after RKO bosses expressed concern over mounting production costs. See more »
In the wide shot of Kong climbing the Empire State Building, he is climbing the western face of the structure. The financial district is visible to the south in the background. The shot of him atop the tower shows the Chrysler Building directly behind him. That building being to the ESB's north east, that puts Kong on the southern face of the building. When he falls, in the closer shot, he falls back to the south east. Back in the wide shot, he falls off the western 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!
141 of 158 people found this review helpful.
Was this review helpful to you?