A film crew goes to a tropical island for an exotic location shoot and discovers a colossal ape who takes a shine to their female blonde star. He is then captured and brought back to New York City for public exhibition.
In 1933 New York, an overly ambitious movie producer coerces his cast and hired ship crew to travel to the mysterious Skull Island, where they encounter Kong, a giant ape who is immediately smitten with leading lady Ann Darrow.
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 in 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
The LaserDisc edition of the film includes the first audio commentary. See more »
It takes a bit of effort from Kong to break down the door between his world and the village when he goes after Ann, especially as Kong has brute strength. Likewise Kong could have easily climbed over the wall to get into the village as well. See more »
Opening Card: And the prophet said: "And lo, the beast looked upon the face of beauty. And it stayed its hand from killing. And from that day, it was as one dead." Old Arabian Proverb See more »
Other than the sequence where Kong pulls Fay Wray's clothes off, here are the other scenes that were cut in the late '30s, and not restored until the '70s:
All scenes of the Brontasourus biting sailors, including the sequence where a sailor climbs to the top of a tree, and soon, a dinosaur comes and takes him away in his mouth.
Kong biting and chewing natives when he breaks through the gate on Skull Island, and squashing one under his giant foot.
Kong biting a New Yorker when he escapes from the theater.
Kong picking a sleeping woman from her hotel room, inspecting her and upon deciding that she's not Ann throwing her to the sidewalk several stories below. Though these scenes were fully restored in 35mm to the 1972 re-release, some prints in the 1960s used 35mm blow-ups of an old uncensored 16mm print to restore the shots, creating a noticeable drop in quality. The 1972 restoration gets the censored shots that were discovered in an uncut British 35mm print from 1933.
Ignore the cranks who seem to look for subliminal messages and underlying hidden meanings in everything. This is a monster movie and a love story and never pretends to be everything else.
Hollywood film-makers of today could certainly learn a few things from watching it with its well-written characters, fast-paced and dynamic script which contains barely a dull moment, excellent dialogue and hauntingly memorable music. Willis O'Brien's animation is at its best and Kong himself comes across as a genuine character and not an unsympathetic one. Scenery is also imaginative, with marvellous attention paid to detail, and the monsters are well-designed.
Still the best monster film ever made, if not the best film.
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