There is no movie monster in the history of American cinema that is as iconic as King Kong. He was there (more of less) first, and few other creatures have had his staying power (Japan's Godzilla is the only one that comes close). And while many are most likely familiar with the giant ape and the broad strokes of the film which made him famous, I imagine many modern American audiences have not witnessed the 1933 classic for themselves. Recently released in a restored DVD edition, King Kong displays for all to see it's position in American film history, while at the same time proving that you can be iconic without being outstanding.
For those who are unfamiliar with the basics of King Kong, here you go: Carl Denham (Robert Armstrong) is a fierce independent filmmaker who has chartered a boat, the Venture, to transport him and his leading lady to a remote island to capture footage of an immense creature believed to be living on the island. When his selected actress backs out at the last minute, Denham stumbles upon Ann Darrow (Fay Wray), a starving girl living on the streets who attempts to steal an apple from a fruit cart to feed herself. Denham is taken with her and convinces her to join him on his adventure of a lifetime. While on board ship in route to the island, Darrow finds her self falling for the ship' first mate, Jack Driscoll (Bruce Cabot). After arriving at their destination, Denham and the crew go ashore and discover the native population living on the island in the midst of a celebration of some type. Retreating to the ship after having been discovered by the tribe, the crew must jump into action when some of the natives kidnap Ann and offer her up as a sacrifice to the great creature that lives on the island, the immensely tall gorilla Kong. Driscoll and the others set out to save Ann, encountering an extensive number of amazing creatures living on the island, while at the same time Kong and Ann are also attacked by dinosaurs among other creatures. Kong has become smitten with Ann, and Driscoll faces a challenge to save her from the beast and avoid being killed himself.
Driscoll is able to save her and Denham manages to use gas bombs to capture Kong himself, with the intention of bringing him back to New York and promoting him as a major attraction to the public. But things go horribly wrong at Kong's public unveiling, and he escapes, wreaking havoc in the city in search of his beloved Ann.
King Kong is well remembered for several things: it's impressive (especially for the time) stop-motion animation, executed by one of the innovators of the technique, Willis O'Brien. It is also known for several of it's set pieces, including Kong's fight with a Tyrannosaurus Rex and, of course, most famously, his fight to the death with biplanes while clinging to the Empire State Building at the film's conclusion. These are classic images that are instilled in many a individual's memory. However, the film surrounding many of these moments has not stood the test of time perfectly. Admittedly, King Kong was a medium budgeted film from one of Hollywood's second-tier studios, RKO, so the quality of other aspects of the production can't really be expected to be up to snuff compared to Hollywood's golden era masterpieces. For what it's worth, the acting is passable, but definitely not refined or polished. Many of the performances are wooden at times, most especially Bruce Cabot's. Robert Armstrong varies from scene to scene, but he makes an impression as adventurous filmmaker Denham (For those even slightly familiar with the real life of producer-director Merian C. Cooper, you can see the autobiographical nature of Denham representing Cooper). The characters in the film are also mostly one-dimensional. Ann Darrow is there to look pretty and scream, not much else. Jack Driscoll talks tough and saves the girl. The two fall in love, according to the screenplay, but there is no chemistry or spark between the two, it's all just background filler to motivate scenes later in the picture.
But you aren't watching to see the Jack and Ann show, no, you are here for Kong, and in this department, the film does not disappoint. While modern advances in visual effects are flashy, the achievements of King Kong are simply breathtaking. Kong is a living, breathing character in this film, full of mannerisms and interesting tics of behavior (After having killed a Tyrannosaurus Rex, he plays with the creatures broken jaw, as if uncertain why it has stopped moving). When he is facing down the planes at the end of the film, we feel a strong twinge of sadness as he fights against what is inevitable. Kong has often been referred to as the only real character in the film, and I can't disagree with that. Production value wise, King Kong is a marvel, with impressive scenes in the jungle and New York, with an immense attention to detail obviously on display in the film, showing that even with the limitations of the time, artistry of the highest order could still be achieved.
If you have even a passing interest in film history, King Kong is required viewing, and for audiences looking for a example of a time in Hollywood when the craftsmanship of a few men created indelible imagery, you owe it to yourself to see this film. It has earned it's place in history.
For those who are unfamiliar with the basics of King Kong, here you go: Carl Denham (Robert Armstrong) is a fierce independent filmmaker who has chartered a boat, the Venture, to transport him and his leading lady to a remote island to capture footage of an immense creature believed to be living on the island. When his selected actress backs out at the last minute, Denham stumbles upon Ann Darrow (Fay Wray), a starving girl living on the streets who attempts to steal an apple from a fruit cart to feed herself. Denham is taken with her and convinces her to join him on his adventure of a lifetime. While on board ship in route to the island, Darrow finds her self falling for the ship' first mate, Jack Driscoll (Bruce Cabot). After arriving at their destination, Denham and the crew go ashore and discover the native population living on the island in the midst of a celebration of some type. Retreating to the ship after having been discovered by the tribe, the crew must jump into action when some of the natives kidnap Ann and offer her up as a sacrifice to the great creature that lives on the island, the immensely tall gorilla Kong. Driscoll and the others set out to save Ann, encountering an extensive number of amazing creatures living on the island, while at the same time Kong and Ann are also attacked by dinosaurs among other creatures. Kong has become smitten with Ann, and Driscoll faces a challenge to save her from the beast and avoid being killed himself.
Driscoll is able to save her and Denham manages to use gas bombs to capture Kong himself, with the intention of bringing him back to New York and promoting him as a major attraction to the public. But things go horribly wrong at Kong's public unveiling, and he escapes, wreaking havoc in the city in search of his beloved Ann.
King Kong is well remembered for several things: it's impressive (especially for the time) stop-motion animation, executed by one of the innovators of the technique, Willis O'Brien. It is also known for several of it's set pieces, including Kong's fight with a Tyrannosaurus Rex and, of course, most famously, his fight to the death with biplanes while clinging to the Empire State Building at the film's conclusion. These are classic images that are instilled in many a individual's memory. However, the film surrounding many of these moments has not stood the test of time perfectly. Admittedly, King Kong was a medium budgeted film from one of Hollywood's second-tier studios, RKO, so the quality of other aspects of the production can't really be expected to be up to snuff compared to Hollywood's golden era masterpieces. For what it's worth, the acting is passable, but definitely not refined or polished. Many of the performances are wooden at times, most especially Bruce Cabot's. Robert Armstrong varies from scene to scene, but he makes an impression as adventurous filmmaker Denham (For those even slightly familiar with the real life of producer-director Merian C. Cooper, you can see the autobiographical nature of Denham representing Cooper). The characters in the film are also mostly one-dimensional. Ann Darrow is there to look pretty and scream, not much else. Jack Driscoll talks tough and saves the girl. The two fall in love, according to the screenplay, but there is no chemistry or spark between the two, it's all just background filler to motivate scenes later in the picture.
But you aren't watching to see the Jack and Ann show, no, you are here for Kong, and in this department, the film does not disappoint. While modern advances in visual effects are flashy, the achievements of King Kong are simply breathtaking. Kong is a living, breathing character in this film, full of mannerisms and interesting tics of behavior (After having killed a Tyrannosaurus Rex, he plays with the creatures broken jaw, as if uncertain why it has stopped moving). When he is facing down the planes at the end of the film, we feel a strong twinge of sadness as he fights against what is inevitable. Kong has often been referred to as the only real character in the film, and I can't disagree with that. Production value wise, King Kong is a marvel, with impressive scenes in the jungle and New York, with an immense attention to detail obviously on display in the film, showing that even with the limitations of the time, artistry of the highest order could still be achieved.
If you have even a passing interest in film history, King Kong is required viewing, and for audiences looking for a example of a time in Hollywood when the craftsmanship of a few men created indelible imagery, you owe it to yourself to see this film. It has earned it's place in history.