A true classic unlike some classics this movie is truely timeless and as a filmmaker the special feature and things were great. But even as a non filmmaker or even someone who only casually watches movies the special features are still interesting and makes you respect how this film helped shape filmmaking as it is today.
amazing how a movie this old can hold up and be so spectacular today. I loved this movie way more than I expected to. The animation is what impressed me as im sure it was with many other people. The stop motion is so fun to watch and since it was made in the 30's it works as an interesting period piece and Is fun to see how creative they had to be with their limited technology. Kong shaking people off a log to their death, fighting dinosaurs, holding onto his love, and of course climbing the empire state building are all super fun and interesting to watch. Ray Harryhausen in incredible and I really need to see more of his movies because this one and clash of the titans both blew me away. I can't wait to dive into more films like this!
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Interpretations--psychological, anthropological, social, evolutionary, racial--abound about 1933's KING KONG. "King Kong is about our inner animal of rage", "King Kong is a critique of man in modern urban times", "King Kong is about technology killing our true nature..." Ad infinitum, ad nauseum. PUH-LEASE! KING KONG is simply a great story, perfectly directed, with the best animation techniques for its time. While the acting (by humans) is admittedly the weakest link in this film, it has so much else going for it, like suspense, horror, pathos, love, and tragedy. King Kong, the animal, is complex and there are different emotions we experience about him. We don't like him when he gobbles up people or smashes the 2nd Avenue el (an incredible scene!). We admire him for trying to save Fay Wray from the flashbulbs. And we feel incredibly sad when he's killed. Why? I think it's because we see him as a human, at least of having human qualities. But to extend that to some deeper, intellectual level is pointless. It's just an amazing film. Last comment: The film also has some humor. As a New Yorker, I love the dialogue between the two women at the theater, waiting to see King Kong. Girl one: "Hey, what's this show about, anyway?" Girl two: "I don't know. Some big gorilla." Girl one: (after a clod accidentally steps on her toe): "Aw. Ain't we got enough of them in New Yawk?" I can't get enough of this classic film.
Most great works of world literature can all be traced, I believe to either The Bible or Homer's Odyssey. When closely scrutinized, all classic works contain some sort of quest. That quest can either be for the truth or to return home. The original King Kong, is not only one of the finest fantasy films ever made, but a great piece of literature because it encompasses those two quests. Granted, many of the film's elements have dated. Certainly that is the case with some the hammy, overwrought, stereotyped and even at times wooden performances. In our "enlightened", post Marlon Brando-Actor's Studio, age of acting appreciation I think we are all to eager to lay such a criticism on films from that quaint period known as the 1930's. And even though Kong gives the best performance in the film, the actors do their job and tell a believable and captivating story. Filmmaker Carl Denham's quest for truth and his odyssey is what fantasy films are all about: a journey into a fantastic and strange new world. His desired exploitation of that savage and innocent world is what tragedy is all about. Kong's quest for safety and dominance in his natural habitat makes for a great metaphor for our modern age. So many of us have been uprooted by forces seemingly beyond our control and we all want to find our place back where we came from. Unfortunately that quest often leeds again to tragic results, Kong, unlike Dorothy ( a story that obviously greatly influenced the screenwriters of Kong), dies. So much has been already written about this great influential film, nothing I say here will be original or enlightening necessarily. It is just that in this day and age of CGI and garbage like ID4, Armeggedon, Wild Wild West, XXX, and so on it is (or at least once was possible) to use special effects to enhance a story as opposed to letting the screen technology engulf any semblance of humanity. And also too . . . please release this in a gloriously remastered DVD. Please.
When film lovers discuss the merits of KING KONG, they often focus on the 'big' scenes, Kong on the Empire State Building, Kong bursting out of his shackles on stage in New York, Kong battling a series of prehistoric beasts on Skull Island. KING KONG surely is deservedly known for these, but the movie's enduring power to enthrall each new generation of viewer is based on the movie's more subtle, yet equally mesmerizing lesser scenes, not all of which involve him. What is astounding to a generation of contemporary audiences jaded by computer enhanced special effects is the way the movie has held up over the decades. The stop-motion animation of Willis O'Brien shows a Kong as seamless as any computer could project today, and certainly as far superior to the 1976 King that groped Jessica Lange. One of the reasons that this more recent Kong failed to resonate with modern audiences is that the somber, brooding mood of the original was reflected in the gauzy, hazy photography that showed the jungle of Skull Island to be every bit the Jurassic danger that Spielberg envisioned for his theme park. Repeated viewings of the sailors that slug their way through the jungle to find Ann Darrow emphasize the lurking monsters behind every tree and hill. Directors Schoesdsack and Cooper (both of whom had bit parts as the pilot and machine gunner who shot Kong off the Empire State Building) would introduce each succeeding reptilian threat from a distance, almost lulling the sailors and the audience into a false security that the beast was not a threat. But then, they would focus the camera on a twitch of the beast's head. One could see and hear the beast sniff the air as a preparation to attack. When it did attack, the assault came on like a runaway train. Sometimes the guns of the sailors killed or drove it away, and sometimes they didn't. It is this constant sense of menace that permeates Skull Island that serves as a prelude to meeting the King himself. The sailors and natives saw Kong first, of course, when he grabbed Ann Darrow, but they had to experience the power of those outsized simian thews as Kong rolled them off the log into an unknown, dank horror below. As many scenes of subtle, psychological power as there are on Skull Island there are an equal number in New York, a city which contains more deadly dragonflies than his home stomping grounds. As one sees Kong rage over his abducted girlfriend both on Skull Island and in New York, one can see that Kong is not much more different from any guy who sees another dude swipe her. His reaction each time is predictably violent. As his violence increases, so does his ability to think rationally decrease. Kong is a beast, sure, but he is a thinking, rational one who in the parlance of lawyers seeking to explain the murderous behavior of their clients, has 'lost it' since he was pushed beyond the limits of simian endurance. But what elevates Kong beyond his more human killer counterparts is his inner sense of inherent nobility that comes out at crucial moments. There is no doubt that he is a self-sacrificing creature who would unhesitatingly lay down his life for his mate. He proves that on Skull Island and on the Empire State Building. When Kong lays Ann down to face the swirling attack planes, he meets them as one king to another. He beats his chest, roaring out his defiance, knowing full well that the power that overwhelmed the prehistoric beasts on Skull Island would fail him here. For that brief moment, Kong transcends a beast out of his element. The audience applauds a creature who in years to come would morph into John Wayne, Rocky, and every other hero worshipped by audiences in the theater with every bit of the fervor worshipped by the natives behind their huge wooden gate. Kong was the king in every sense of the word in both his island in the Pacific and the island off the Atlantic.
This is unquestionably the great monster movie ever made. The plot is not just an excuse for a monster to go on a rampage, the characters are unforgettable, and the special effects truly blow me away. An overzealous producer named Denham embarks on a voyage to a secret location with the intent of shooting his most daring movie ever. Forced to choose a leading lady at the last minute, he bumps into a down-on-her-luck young beauty, Ann Darrow (played by the gorgeous Fay Wray). They reach the previously unknown island in the Pacific, encounter a group of natives who are less than pleased to see them, and verify Denham's story of a huge wall blocking off a section of the island. Ann is kidnapped and left as an offering to King Kong, who makes his dramatic appearance halfway through the film. The crew go after Kong, encountering such obstacles on their way as a giant dinosaur and sea monster. Eventually, a subdued Kong is brought to New York City to be exploited for money; taunted by the sight of the woman he adores, Kong makes one last stand, and the ending is cinematic history. It is almost impossible to believe that this monumental epic was made in 1933. The special effects are just amazing, much better than most monster movies of the last couple of decades. I have no idea how Kong was "created" by the studio; while he is sort of herky-jerky in some of his movements, the detail of the stop-motion animation is incredible. I took special note of the way even his nostrils twitch, and his facial movements are all very expressive. I believe the incredible detail of Kong's features does much to make him such a creature worthy of sympathy. You can see the pain in his face when he is hurt, and you can clearly see his affection for Ann Darrow. I should also mention the fight scenes, which are some of the best ever produced. These are prehistoric animals, and they fight the way prehistoric animals fight--going right after each other in a challenge of strength without any special powers or fiery breath rays. Most stunning of all to me are the scenes taking place high up on jungle cliffs and later on the Empire State Building. When you see the ground or the New York skyline and streets way down below, they look quite real. Even the most recent monster movies seem to fail miserably at showing their monster up above the landscape below. I am also somewhat surprised at the level of horrific events in a movie from 1933--when men fall to their deaths, you see them fall and hear their screams stop abruptly when they hit the ground; when Kong fights another creature, victory is achieved in a rather gruesome manner; Kong often puts men inside his mouth and then throws them to their deaths. I can't say enough about the realism of the special effects in this movie made almost seventy years ago now. No one screams like Fay Wray. She is the perfect "beauty" for Kong's "beast." There is a philosophical tint to this movie, though: who is the real beast here? Is it King Kong, who forsakes everything he has ever known to pursue the woman he loves? I don't think so. The true beast is the movie maker Denham, whose love for money, excitement, and glory brings destruction to a Pacific island and to the streets of New York. If you've never seen the original movie, I urge you to see it. King Kong is so much more than a monster movie. The story is deeper than you might expect, and the whole experience marks a true watershed in the history of movie making.