Pooch the Pup takes his girlfriend and an anthropomorphic camera to the jungle in search of the giant ape, King Klunk. They arrive just as the Hot-Cha tribe is offering one of their own girls to the ape as a sacrifice. King Klunk tries to bite down on her head, but even his enormous fangs can't make a dent in her hard skull. His attention turns to Pete the Pup's girl, whom he snatches up in his huge hand. The ape doesn't know what to make of her until Cupid hits him with an arrow. Suddenly, King Klunk is in love. He even battles a dinosaur to prevent her from getting devoured. During the fight, Pooch takes the opportunity to rescue her. After winning his battle, the ape takes after the fleeing pair, but they defeat him by cracking a giant egg over his head. Soon, Pooch and his girl are exhibiting the giant ape in a big-city theater. Mischievous Cupid reappears to reignite the ape's passion for the girl, which gives him the strength to break his chains and cause some real trouble. Written by
In the 1930's, a lot of American horror films came to Britain and the British Board of Film Censors gave them an "H", which stood for "Horrific". This cartoon was the first one to be given the "H" certificate. See more »
Margie the bird rests on a small branch that doesn't appear until the moment she lands on it. See more »
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Woody Woodpecker creator Walter Lantz was quick off the mark with this animated parody of King Kong, which came out in 1933, the very same year as the classic monster movie; but perhaps he should have taken a little more time, because in his rush he forgot to include any decent gags or memorable characters.
Giant amorous ape aside, the main character is Pooch, a generic 1930s animated animal (dog?) vaguely reminiscent of Betty Boop's pal Bimbo. Then again, he's a bit like Mickey Mouse. Or Felix the Cat. When his equally generic girlfriend is abducted by King Klunk, Pooch sets off in hot pursuit to rescue her.
Technically and stylistically, this early cartoon is fairly typical of the era, with repetitive use of looped frames to extend the action, random inanimate objects coming to life, and politically incorrect depictions of natives, but with humour that is as prehistoric as the titular ape's home it will probably be of little interest to anyone but animation historians or avid fans of King Kong who feel the need to watch anything remotely related to the film.
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