Kong falls from the twin towers and he appears to be alive. However, his heart is failing, so it's replaced with an artificial one. All is well until he senses that there's a female Kong somewhere out there and escapes wreaking havoc.
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.
When the Maharaja is ousted by an intruder, his wife and two sons, Badal and Jingu, flee. Badal gets separated while Jingu and his mother survive in near destitute conditions. Years later, ... See full summary »
An expedition of the "Petrox" company, is exploring in search of petrol. A strange island where they arrive is the home of a giant ape, King Kong, that is captured by the expedition in order to make money exhibiting it to the world. When in the U.S. the huge gorilla becomes restless, trying to return home... Written by
For the scene where Kong destroys an elevated train (the Astoria El in Queens, NY), special effects man Glen Robinson and his team constructed a large section of track, as well as several miniature subway cars complete with 70s-era graffiti. One of the cars was rigged with a wire that did most of the actual lifting in the shot where Kong picks it up and throws it into a building. Robinson's crew also rigged a series of big explosions designed to go off when the car hits the building. Rick Baker recalls the explosions as being so intense that on several occasions he became convinced that his suit had caught on fire, although, thankfully, that wasn't the case. To enhance the scene's realism, miniature people were placed on rods and moved in and out of the windows of miniature apartment buildings as Kong rampaged. See more »
As Kong approaches the great wall for the second time in the film (shortly before he is gassed), the camera pans the wall from Kong's point of view. At right, after a tree falls, the wall's end is clearly visible, and there are many bright street lights on the horizon. As the camera pans left, the opposite end of the wall also can be seen. (Note: This is visible in the letterboxed, full-width version; it might not be visible in pan-and-scan versions.) See more »
OK, Boan, how much you got here?
About eighteen hundred.
Eighteen hundred? What's going on?
Hey, Mr. Bagley! Something's haywire. They only loaded me enough pipe to push one test hole. Less than two thousand feet.
Yeah, that'll be enough.
Are you kidding? On Bagatan, we didn't come until we were past twenty-six thousand feet.
You take my word, fellas. This hole proves out within two thousand, or it's a write-off.
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Opening credits prologue: SURABAYA INDONESIA See more »
In an era when many hollywood blockbusters are criticised for an over-reliance on sophisticated special effects to the detriment of everything else, this poorly remembered remake stands as a cautionary example of what can happen when a basically decent film gets let down by low-tech back up.
Producer Dino De Laurentis both cheated and deceived his audience here; selling the film on the hype of a state of the art full-size hydraulic ape that would re-define the effects landscape. Instead, what we got was the tired old fallback of the man in a monkey suit waddling bow-legged around some highly unconvincing sets.
Its such a shame because this film actually has a lot going for it. The screenplay is sprightly, good-humoured and faithful to the original while updating it with some then topical issues like fuel crises, feminism and even pornography. The makers also have a whale of a time with endless phallic imagery and self-referential quips more common to movies of the 90s than 70s.
The characters are far more quirky and idiosynchratic than you normally get in this sort of fare; a hippie academic, a star-struck, dipsy blonde and a buttoned-up corporate shark. Lange has gone on to become one of the most honoured and respected actresses of her generation, yet her career almost died right here. She was actually so good at playing the shallow, D-list airhead that critics and public alike thought it a reflection of her real self and dismissed her out of hand. Yet looking at her performance in hindsight she just oozes skill and star quality.
The film hardly puts a foot wrong until Kong appears. The production is smooth, the photography impressive, the locations superb and the story and characters engaging. But a fantasy adventure stands and falls by the suspension of disbelief achieved at the crucial moment. The first act of the 1933 Kong drags interminably until the King himself appears - then it soars. The reverse happens here; Rick Baker turns up in his ape suit, knocking down plastic trees and fighting a big rubber snake and the spell is shattered - in fact it was never even cast. The problem is also compounded by the screenplay's only serious error; making Kong sympathetic and pitiable far too early. The original Kong was always awesome and scary, even when he began to become sympathetic. Here he is just a bit too likeable, to quickly.
That the film remains just about watchable after this point is a testament to the performers and the strength of the story, but ultimately this effort has to go down as a missed opportunity to make a quality remake of a legendary film. Lets hope Peter Jackson doesn't make the same mistake next time round. You can't imagine him getting the film visually wrong, but it would be ironic indeed if he fell into the modern malaise of neglecting other key elements like story and character. Indeed, he could do worse than give the first hour of this movie a peek before he puts pen to paper.
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