4 items from 2014
One of the women who co-starred with King Kong in his iconic scene atop the Empire State Building has passed away at age of 103.Pauline Wagner is the actress who stood in for the legendary Fay Wray during key reshoots for the 1933 classic. Wagner died last month outside Los Angeles. Her manager confirmed the death to the Hollywood Reporter today. 'Kong' producers needed to reshoot the climactic finale, but Fay was already in England working »
- TMZ Staff
Her friend and manager Steve Vilarino confirmed to The Hollywood Reporter that she passed away on May 2 in Montrose, California.
Wagner worked as a contract player at Rko Radio Pictures, when she was approached by producers and asked if she would help reshoot the crucial scene, as Wray was then working on another film in England.
She admitted in an interview that she was unaware of her part in the film until she watched King Kong ten years after its release.
The actress went on to have a variety of small and often uncredited roles in movies in the 1930s and early 1940s.
Wagner is survived by her two sons, Mike and Bruce, »
Actress Pauline Wagner, who as Fay Wray’s double can be seen writhing on the ledge of the Empire State Building in the climax of the 1933 film King Kong, has died. She was 103. Wagner died May 2 in Montrose, Calif., her manager and friend, Steve Vilarino, told The Hollywood Reporter. Wagner was a contract player at Rko Radio Pictures and wandering around the lot when she was approached by a group of men, she recalled in a 2011 interview with Filmfax magazine. They were working on King Kong and needed to reshoot the finale, in which the big ape
- Mike Barnes
Many monster movies work as an analogue to a widespread traumatic event. The original Godzilla was implicitly about the bombings of Hiroshima and Nagasaki during World War II. Bong Joon-ho’s The Host was explicitly about a specific incident involving the American military at the turn of the millennium, which can be directly tied back to the U.S.’s presence in South Korea since the 1950s. There is no shortage of monstrous figures in the history of American film, but usually they incarnate a broader social anxiety rather than a collective once: Dracula is fear of sex, fear of the vaguely Eastern European other. While Frankenstein’s monster is the fear of progress and, yet again, fear of the other.
With the exception of Pearl Harbor and 9/11, the United States has never really been on the receiving end of a massive, all-encompassing national trauma perpetrated by an outside force. »
- Derek Godin
4 items from 2014
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