” LADIES AND GENTLEMEN, KONG, THE EIGHTH WONDER OF THE WORLD! “ Part - 1

Introduction, Music, and Historia
The Big Ape, The Beginnings ...

My first experience with the Big Ape was in the early fifties. My father, a long-time both K.K. and Fay Wray fan, felt it was his duty to take my Mom, (who was five years younger than “Beauty” and really did resemble Fay Wray quite a bit) and myself, (all 4 years of age of me), to see this, his very favorite of films. There the three of us sat in total darkness in a theatre somewhere in mid-West Side Manhattan.

I don’t remember much of the Big Ape except Mom was very annoyed with all the screaming; Dad was utterly transfixed; and I sat paralysized with fear. Mom protested that I was much too young to see such a monstrosity towering over us from the silver screen. (Happily, I found out Miss Wray herself had the same opinion and did not allow her own eldest daughter to see the Big Ape until much later after “King Kong’s” initial release.) Mothers know.....;^)

Then came our acquisition of a new apparatus called “television”. We were no doubt the very last in our circle of family and friends to get an old black & white Dupont, or was it a Dumont?

And with the apparatus came the Big Ape once again! By now, Mom would just leave the room; Dad would sit mesmerized as always; and yet, somehow, the Big Ape didn’t seem quite so threatening to me in our living room any longer. New York’s “Million Dollar Movie” would begin playing with “Tara’s Theme” from “Gone With The Wind” and 7 days a week; (2 times a day and 3 on weekends), it was back to Skull Island again! And what a journey that was - wow! That’s not counting all the other times on tv and re-releases throughout the years.

I began to have splendid nightmares shortly thereafter. Pleasant nightmares really. King Kong always trampling all over downtown New York. Crashing into the old elevated “L” train and jumping from one city block to another. While, I in the dream, tried to find Fay Wray who was the only who could talk any sense into his big head.

When I would go downstairs to play with neighborhood kids, all games pointed to King Kong, the Eighth Wonder of the World! Every kid wanted to be either Kong himself or Fay Wray screaming like a banshee. If we couldn’t be either, well, then, we provided the background music! And I, may I add, can still hum the entire score too! No problem at all!

In my art class, I would literally draw out the entire scenario on paper to my teacher’s amazement! Thus was my introduction to this most famous ape of them all and what many experts have declared is a classic of cinema history.

I could go into a review of the simple but marvelous story itself, but because of much finer descriptions of the scenario by others ahead of myself, I’ll make the review really concentrate on why this writer agrees with the summation of most cinema historians - it’s a classic and has no need to be copied - now for the third, and I hope, last time.


WHY IS KING KONG (1933) A CLASSIC? Released March 2 or 3rd depending on which coast you were on, 1933 and re-released in 1938, 1942, 1952, *1956, 1971; and with the latest Kong Movie about to launch this December, I thought, a look back to the original “Grand Daddy of ‘em all” would be a journey worth taking. I’m looking forward to the new release and being able to make a comparison with Peter Jackson’s version. Concerning the 1976 K.K., I don’t even think it worthy of mention. Sorry folks.

*(Amazingly, the 1956 broadcast of "King Kong" was viewed at least once during its run by 80% of all television-owning families, the largest television audience ever recorded in New York up to that time.)

I really don’t know why “Gone With The Wind”, another great classic, has never had the honors to be copied, but oh well, such are the inconsistencies of life! It seems “they’re still trying to get him”.

“Gone With The Wind” was almost perfect, (no one but God is perfect folks), and there is no reason or purpose in trying to copy something which is perfect. How many copies of a Rembrandt or Michelangelo are necessary? Only to art thieves certainly!

I’ve broken the 1933 movie down into several fields and will attempt in my own clumsy way to define a “classic” and just how King Kong may fit into this category.

THIS IS GOING TO BE A RATHER LONG REVIEW FOLKS SO PLEASE PULL OUT A CUP OF COFFEE AND ENJOY!

*SIDEBAR: I’ve been unable to code a link into this Epinions review enabling the reader to jump directly to the referenced files. I apologize for this and hope you the reader will simply copy and paste the link to your url address bar.

This review, Part 1 will deal with the musical score and historical value of
the film.

I’d also like to invite you to visit a mini-site which I put together for a behind the scenes look at the making of King Kong.

http://www.christepublishers.com/kingkonghome.html

MUSIC SCORE:
With only the first three ominous musical notes having been played, audiences in March, 1933 knew they were about to see something up to then unknown to human experience - even to our times.

Neither did they realize the composer of such sounds was actually the godson of Richard Strauss, no less, and his circle of family friends included Jacques Offenback and Johann Strauss, Jr. Max Steiner himself would soon to be known the world over to a larger and further reaching audience than his famous and very distinguished group of friends ever could imagine.

Max Steiner coming to Hollywood in 1929, worked sometimes as conductor or arranger, sometimes as both, but principally as a composer. Within very few years he was to compose and arrange the robust, intense, stirring and all mighty score to “King Kong”, a ground breaking film score if there ever was one.

If “beauty killed the beast” then the music “helped establish the classic”. For years afterward movies made through RKO used portions of the rousing and horrific “King Kong” score to enhance other action films, such as “RETURN TO BATAAN.”

Max Steiner’s record is unparalleled in cinema history as it includes music for: “ KING KONG”, “OF HUMAN BONDAGE”, “THE INFORMER”, “THE GARDEN OF ALLAH”, “THE LETTER”, “DARK VICTORY”, “THE GAY DIVORCEE ,“SINCE YOU WENT AWAY”, “THE BIG SLEEP”, “THE FOUNTAINHEAD”, “SERGEANT YORK”, “THE CHARGE OF THE LIGHT BRIGADE”, “A STAR IS BORN”, “THE LIFE OF EMILE ZOLA”, “A SUMMER PLACE”, “NOW VOYAGER”, “THE GLASS MENAGERIE”, “THE CAINE MUTINY”, and yes, who can forget “GONE WITH THE WIND” and “CASABLANCA,” ? This is only a small sampling of the many film classics, (including several of the Fred Astaire musicals) on which Steiner worked on right through the 1960’s. And it all began with the Max Steiner style which he incorporated for this movie.

And just what is the Steiner style for “King Kong” ? - It is bold, scary, intense and romantic: it has everything musically one should looks for in a motion picture. It was groundbreaking - and the music alone probably helped usher in the sound of change and bills rustling at the box office!

Steiner's musical language is very direct and gets straight to the point for whatever emotion is required by the scripte, coordinating whatever is taking place on screen with his music sheet. “Move the audience! Move the audience, that’s all that matters, get them on their feet!”" One can almost hear crazy Carl Denham screaming at the top of his voice!

For Steiner, his music was made to both enhance and make the movie stand out in the minds and hearts of the hundreds of thousands of audiences who would watch the movie throughout the years. This was of upmost importance. He was a natural Hollywood die hard fan with his musical content! It was part of the craft and he aptly used this mindset as a tool, an instrument!

One thing to note is that in his overtures, he frequently incorporated an orchestral fanfare as his signature for the opening titles.

In “King Kong”, however, the opening consisted of three very deep, foreboding notes which set the stage for the rest of the movie. Although his style is often instantly recognisable, those first few bars leave the listener with no doubt that the movie has a Steiner soundtrack.

Of the film’s many musical highlights, I believe I like the “Jungle Dance” the most. (I’d like to see if you can hum it after all these years!), This same segment was used many times throughout other RKO movies to describe aboriginal natives of the South Seas; Apaches warriors; and anything else which was perceived as a threat to “white civilized” man.

To hear the segment on the “Elevated Train”, “The Aeroplanes” and “The Death of Kong”, you just know there is a train coming on the tracks or airplanes are taking off the runway, or there is a tragedy about to befall our hairy ape for whom we end up rooting and symphasing with. This is unapologetically a film score for an epic motion picture.

There have been several interpretations of the film’s score and theme but if you’ll visit the below link, you can hear for yourself excerpts of the main themes of this wonder of cinematic musical scores, this being one of the most current available!
• Moscow Symphony Orchestra
• William T. Stromberg, Conductor
• Music reconstructed and restored by John Morgan
• A Marco Polo Recording
• Disk #8223763
• Playing Time 72:19

http://www.audiolunchbox.com/album?a=27207

If, therefore, we hear, examine and prove over a considerable amount of years Max Steiner’s works and in particular, his creation of the “King Kong” score, one can safely and assuridly say - “We Have A Classic Film Score!”

HISTORICAL VALUE: I’ll make it short, “King Kong” was the box office champ and The Star Wars of it’s time.

Of even more importance, it not only saved RKO but Hollywood itself! It has been re-released in 1938, 1942, 1952, 1956, (I saw it both in 1952 and 1956) and 1971. The newest DVD version will probably be released about the same time as the new Peter Jackson version of the movie.

Produced on a $650,00.00 budget, it opened simultaneously on March 2, 1933 at both the newly built Roxy and Radio City Music Hall in New York City to full capacity crowds of 10,000 people. No other film ever was able to duplicate that feat.

In the first four days the film earned $89,931 having smashed all previous box office records. Movies prices being around five to fifteen cents at the time, at the very height of the Great Depression, NOBODY had that kind of money - not even New Yorkers.

People fainted, applauded, screamed for more and sat frozen to their seats! Mounted policemen weaved in and out of the lines not seeing anything in New York like this since Valentino’s remains were “exhibited” at Campbell’s Funeral Home.

Tinseltown was in a state of near bankruptcy. The "talkies" had arrived in 1926, but few knew what to do with the new baby on the block! Except for second rate musicals, (which I personally love), filled with the best hoofers from New York, (including James Cagney, Joan Blondell, Ginger Rogers, and Ruby Keeler) no one had yet really figured out what to do with a microphone.

But David Selznick, Merian C. Cooper, and Ernest B. Schoedsack knew what to do. For David Selznick, the executive producer - it was simple, leave Cooper and Schoedsack alone to work on Cooper’s “baby”, simple as that!

The rest is movie history! Not only RKO but Hollywood survived and flourished. Thanks to the Big Ape, we would have an entire culture historically and permanently preserved on film.

Whatever would have happened to the treasures of Fred Astaire and Ginger Rogers; or the future Desilu Studios; or Star Trek soaring off to where no man has ever gone before? In plunging from the Empire State Building, “King Kong” assured Hollywood of a future.

Only Hollywood today, it seems sadly seems, can’t keep from it’s path of self-destruction and arrogance in even giving a passing nod to the little 18” minature monkey who saved all of Hollywood’s hide.

Does this description apply to the word “classic”? You tell me. Is this ground breaking enough?

In Part 2, (which will be published immediately following Part 1), we will examine one of the strongest points which I believe, has contributed to making this movie a classic: the characterizations and portrayal of the main players Robert Armstrong, Bruce Cabot, and The Beauty, Fay Wray.

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"Ladies and Gentlemen, Kong, The Eight Wonder of the World!" Pt.2"
Correction: the url address for the before mentioned mini-site has been changed to http://www.christepublishers.com/kingkonghome.html from the previously published Epinions article review. I apologize for any inconvenience.

CHARACTERIZATIONS:
Most definitely, it is in the roles of the players in the '33 King Kong movie which we find one of the strongest elements which would tend to propagate the term "classic" in describing this cinema event. Many more fine performances can be covered in this review but, alas, let's deal with the three most lasting and important roles: Carl Denham, Jack Dricoll, and Ann Darrow.

For a complete listing of the players, please visit:
http://www.aboyd.com/kong/kong2.html

Movie Producer, CARL DENHAM, played by Robert Armstrong. I think Armstrong, aside from our furry friend, is the unsung hero of "King Kong". His cocksure performance is the catalyst of the movie with his winning mix of selfish cunning and humanity. He was the era's "tough-guy with a heart of gold and the mind of a fox," per excellence and was in my opinion, an unjustly underrated actor. (Go back and check out his performances in "G-Men" or "The Lost Squadron", "The Most Dangerous Game", "Son of Kong", "Mighty Joe Young" or "The Ex-Mrs. Bradford".)

In his role as Carl Denham, he is reckless with the lives and safety of others but would never ask anyone to do what he himself is not willing or able to do himself. He seems to take a liking to the heroine of the story, Ann Darrow, (Fay Wray) and not all of it is professional, one begins to suspect.

His stance is overconfidence, zeal and enthusiasm and it proves to be the undoing of everyone who unwisely or through no fault of their own, puts their trust in him. He is full of energy, exuberance, and reckless abandon and we find ourselves identifying somewhat with this natural born, charismatic, but slightly misguided, leader.

First Mate and Officer of the weathered cargo ship "Venture", JACK DRISCOLL was played by Bruce Cabot. While Robert Armstrong may come across as the unsung hero of Kong, (beside Kong that is), Bruce Cabot gets all the credit and glory as a full-pledged hero.

A then youthful and lanky leading man, his role could have also been easily handled by a young Joel McCrea or Richard Arlen. Yet, it is for the part of the "no-nonsense" First Mate, Jack Driscoll, for which he shall always be best remembered.

At first annoyed by "having a woman on board", Cabot quickly but surely descends into deep-rooted love for Ann Darrow. Although their courtship actually lasts for only a few fleeting moments, disaster strikes and Ann is kidnapped to be used as a sacrificial offering to god-like Kong!

If Kong was determined to keep his cherished new prize and fair lady, a just as deeply smitten Jack Driscoll was just as determined he was going to rescue her from his much more overwhelming adversary, Kong. A tall and very ruggedly handsome Bruce Cabot at his cinema prime in his most famous role.

"THE BEAUTY, ANN DARROW" played by Fay Wray.. Although she had long been an upcoming and very talented rising starlet towards the end of the silent movies era, and was already an established leading lady in the early Hollywood sound era, it is for "the scream" for which this dear and gracious movie actress will always be remembered.

This writer truely believes it is because of this lady's role as the young, down and out unemployed actress, Ann Darrow, that "King Kong" '33 has made it into the realm of "movie classic".

Easily known throughout the world even to this day, no other actress has conveyed the enormous range of emotions needed for this rigorous role. Starry-eyed excitement; hesitation; fear; innocent sensuality; sheer horror and repulsion are just some of the emotions to name a few which this most talented actress exercised in this legendary (and I do mean legendary) role.

Her acting ability was versatile and she was a very capable artist whenever given the opportunity. She was raised in the school of cinema professionalism and was known for it along with another earlier colleague of hers, (and one of my favorite actresses), another silent screen and theatrical legend, the great Lillian Gish. Had she had the appropriate directors and writers as had Lillian Gish, Wray could have very well been one of the great actresses to ever come out of Hollywood. A lady of class, is what best describes this "Beauty".

At 25 years of age, Fay Wray was already a film veteran by the time "King Kong" came along. She was the original "Million Dollar Baby" and that hit song was frequently played by bands upon her arrival at events during the late twenties and thirties. She was also known for her very gentle and humble spirit; consideration for her fellow man; and her classic patrician beauty.

Unfortunately, (or fortunately), she is also mostly known for her "scream". There has never been one like it from scores of other horror films and multitudes of other actresses.

A sampling of "the scream" can be heard at

http://www.shillpages.com/faywray/fwmedia.htm

To best describe it, I'd have to say, it sounded like a highly trained and disciplined voice, with a robust, tonal quality - much as an opera singer would have had to possess. In essence, "the scream" of Fay Wray conveyed the indignity of having her young, vibrant life, suddenly interrupted by an unspeakable horror.

A horror so tremendous that only by allowing her soul and everything within her soul to scream, was she able to temporarily cope with the horrendous event and escape.

Actually, Fay Wray herself writes in her autobiography, "On The Other Hand", that she was disappointed when first seeing the completed "King Kong" by all the additional "screams" which were interjected throughout the film.

SIDEBAR: My Mommy thoroughly agrees. Now at age 93, when in order to write this 3 part extravaganza, I recently "forced" her to view the Big Ape once again on the VHS Turner Colorized Edition. "Too much screaming", still says Mommy. Daddy went home to be with the Lord in 1993 and is now in the company of the real Fay Wray - still mesmerized by her I am certain!

Miss Wray's handling of the role of Ann Darrow has never been duplicated to this date - if there is any question about this, ask any of her multitude of fans throughout most any place on this planet. From kings, presidents, celebrities and even "The Donald" (she had a Manhattan apartment at the Trump Towers) - all her legions of adoring fans remember her warmly,fondly and are still awe struck by her even in her later years.

SIDEBAR: Fay Wray is also known for her beautiful blond hair. However, it was not until many years later that I discovered it was a magnificent wig which the actress bought in New York for the film. Evidently, the producers thought the very pretty reddish brown hair and blue-eyed actress would look great as a blonde, opposite the very black hand of a giant ape. And they were right about the color contrast. It worked as a bit of cinema "business".

This writer earnestly invites you to visit Steve Hill's dedicated The Fay Wray Pages, at:

http://www.shillpages.com/faywray/fwmain.shtml

It is the best and most distinguished Hollywood site on the web dedicated to this extraordinary actress; and a true labor of love by Steve Hill. It was and is visited not only by her fans, her family and film historians, but by the very actress herself right up until her passing. I spend quite a bit of pleasant time at this site and appreciate Steve's kind efforts to keep this magnificent actress and person's memory as a legacy to other generations.

I myself have put together a mini-three page site at:

http://www.christepublishers.com/kingkonghome.html and hope you too will come here for a bit of "Behind the Scenes With King Kong!"

In the planning works is another site dedicated to the life and times of this extraordinary actress from a different perspective.

Groups such as the one formed at Yahoo by Steve Hill for the actress, (several for King Kong alone formed by others), are still very much active even after her passing last year on Aug. 8th, 2004 at the blessed age of 96. There is literally no place on this planet that does not remember or know of the blonde who made it up to the Empire State Building on a back lot of Hollywood in 1933.

Other attempts at the Ann Darrow role have ended in mostly cinema disasters. There was one gosh awful performance by Jessica Lang, (playing a character which I couldn't even figure out or the rest of movie for that matter either), in 1976. I couldn't tell whether the ape was several men in a monkey suit or one guy in a monkey suit or just a robotic robot - horrible....what a waste of celluloid, time and money!

In a 1987 interview, Miss Wray said she had been sent a script for the 1976 remake of "King Kong," in which Jessica Lange played Kong's co-star, because its producers wanted her to play a small role. She said she disliked the script and declined the offer, because "the film I made was so extraordinary, so full of imagination and special effects, that it will never be equaled."

"They shouldn't have tried," she added. She was so, so, right.

As we write this, there is now going to be a newer interpretation by the actress Naomi Watts scheduled for December 14th, 2005. I have only seen the trailer of the new Peter Jackson rendition, and will reserve comment until the actual viewing but to see the new Ann Darrow, is, it seems to me, to see a rather "wooden" Ann Darrow and her performance I dare say unfortunately, will be forgotten just as soon as was Jessica Lang's role. At the very most, it should be a little better than that of Jessica's as Naomi does seem to be a rather good sprinter.

All in all, it is this writer's opinion that the Beauty not only "killed" the Beast, but "made" the Beast as well, (if you know what is meant).

In the last and final review of " King Kong Part 3", this writer will review the other two areas which I believe, has helped make this movie a cinema classic: special effects and script writing.

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“Ladies and Gentlemen, Kong, The Eighth Wonder of The World!”-Pt. 3
SPECIAL EFFECTS AND SCENARIO:

I hesitate to enter this segment of the review because, let’s face it, technology -wise, between KK㤩 and KK� there probably is no comparison. Or, is there? Let us see.

What may first seem as the Wright Brothers’ flight at Kitty Hawk vs. the space shuttle, King Kong 㣅 still manages to come up the winner in the area of special effects, and still qualifies as a classic in this respect.

I’m certain that Peter Jackson will break ground in digital graphics having recently read that there were over 30 separate work stations weaving their magic of sorts on Apple computers specialized in graphic design work.

But back to 1932, when Fay Wray was first approached for the lead of Ann Darrow, she was shown an 18” model of an ape. Thinking it was going to be Cary Grant or Clark Gable, this “tall dark leading man” turned out instead to be one furry ball of rubber. Constructed on metal skeletons (about 3 or 4 different models), with ball and socket joints, covered with foam rubber, cotton and rabbit skins to simulate the Bid Ape’s fur, Willis O’Brien, genius that he was, proceeded to scare the life out of most everyone.

His dedicated team of special effects men was so engrossed in the construction of miniature sets and so much time was spent on the intricate designs and model props, that Fay Wray notes she was able to film 10 other films that year while the special effects people weaved their O’Brien magic.

O'Brien used these models to film all but a few short scenes which utilized a life-sized bust of Kong (munching on New Yorker and Skull Island natives as well). In addition, there was a life-sized hand to hold Fay Wray and a giant life-sized foot to trample Skull Island locals underneath.

On a purely technical level, it's impossible to deny that the “King Kong” special effects are not as polished or sophisticated as those featured in let’s say, “Jurassic Park”. But movies are not judged exclusively on the basis of visual technique.

When one stops and thinks that miniature models, had to be moved every 1/8”, the camera had to stop and shoot a frame every new position, and then the model repositioned, one can begin to see the very gigantic and laborious chore this became.

Every time, Kong moved an eyelash or raised a snarled lip - “okay, shoot! “Now, stop the camera and move Kong again!”

Who can ever forget that mighty battle between T-Rex and our furry hero? Obviously out sized by the giant reptile, Kong depends on his shrewd calculations to make a grab for the gigantic creature’s most vulnerable spot (compared to the rest of him that is) - it’s slender neck.

Time and time again Kong lunges on Rex’s back trying to throw him off balance and finally succeeds, throwing him to the ground and hopping on his chest. Holding him in a death grip, Kong proceeds to tear the dinosaur’s jaws apart.

While Wray watches the horrific event trapped underneath a fallen tree trunk, we, the audience identify with her as we are able to not only see the repulsive sight of T-Rex having his jaw broken to bits - we are hardly able to look upon the screen as we actually hear the jaw bones snap, crack, and crunch.

It is not until the blood comes pouring forth from the hapless creature, that the audience gets to breathe a sort of relief from this spectacle. The mighty Kong has demonstrated his royal status once again!

Everything in Kong 㣅 was painstakingly crafted and manipulated by hand. Recognition of this makes viewing “King Kong” all the more awesome: the dinosaurs of the '90s and now the 21 st century look more realistic; while the creatures brought to life by Willis O'Brien's stop-motion technique look primitive in some scenes and just as realistic as today’s in other sequences.

Computers formed the monsters in Spielberg's dino-epic and we know computers today can do most anything and quite easily.

If one sits back and closes one’s eyes, one can almost savor the craft that went into creating the 1933 film. But today, now, it has become a routine matter in many instances of maneuvering pixels or dragging, cutting and pasting in other instances.

Although O’Brien had previously utilized the photographic technique known as stop motion animation, (where miniature models are photographed one frame at a time being repositioned between exposures), it was in “King Kong” that Willis really outdid himself.

He made many other films which never quite reached the prestige and quality of “King Kong”, yet, he went on to win the first ever Oscar for special effects for his work in the first “Mighty Joe Young” in 1950, just as detailed a work as “King Kong”, but a way too cute for post-WWII audiences.

Among his many other films were:
The Lost World (1925)
King Kong (1933)
Son of Kong (1933)
The Last Days Of Pompeii (1935)
Mighty Joe Young (1949)
This Is Cinerama (1952)
The Beast of Hollow Mountain (1956)
The Black Scorpion (1957)
The Giant Behemoth (1959)
The Animal World(1957)
The Lost World (1960)
It's a Mad, Mad, Mad, Mad World (1963)

For a really good K.K. special effect photo summary, please visit.

http://www.angelfire.com/ri/KingKong33/creation33.html

SCENARIO AND CONCLUSION
I submit a mystery to you. Who actually authored first the novel, and then the screenplay?

There is the version which says the famed author, Edgar Wallace authored it; or he co-authored it with Delos Lovelace; or that he did it all. Another story goes that of more than 165 films that have been produced from Wallace's works, and one of his last assignments was the original scenario for King Kong (1933), which Wallace wrote at white-hot speed shortly before his death from pneumonia and other complications in Hollywood in 1932, while under contract to RKO studios.

NOT SO, say other film historians. Merian C. Cooper, the co-producer himself minimizes the importance of Wallace's contribution and at last writing, the status quo sticks with:

Conceived by
EDGAR WALLACE and
MERIAN C. COOPER
Screen Play by
JAMES A. CREELMAN and
RUTH ROSE
Novelized from the Radio Picture by DELOS W. LOVELACE

(This writer, remembers having read a novelization of K.K. supposedly by Delos W. Lovelace and Edgar Wallace. It contained the spider segment and the name of the cargo ship was “Wanderer”, not “Venture”. Well, anyway, unfortunately, no living contributor remains today so perhaps, the public will never know for certain.)

There are many other literary combinations taking the credit but here is the latest, I believe agreed upon credit.

Producers, Directors
Merian C. Cooper
Ernest B. Schoedsack
Executive Producer
David O. Selznick
Screenplay
James Ashmore Creelman
Ruth Rose
From a story by
Edgar Wallace and
Merian C. Cooper

THE SCENARIO:
While entire volumes have been written and revised on the making of the Big Ape, and in order to spare the reader more fascinating stuff on our furry hero, I will (finally) finish this review by touching on the screenplay itself.

We can listen to Max Steiner and his bold, stirring music; watch the spiritual beauty of Fay Wray’s portrayal role; and be mesmerized by the O’Brien tapestry of special photographic effects - but if we fail to touch on the script writing, we would have missed an element which must be touched upon as without it, this would not be the classic which many say it is.

A Hollywood impresario puts together a movie crew and hires out a cargo ship, the "Venture", in order to journey to a perhaps nonexistent island, which he believes seems to be in the South China Seas.

Along with the crew comes a really pretty unemployed actress with long, blonde hair. The producer's only one heart’s desire is: "we'll make millions boys, and I'll share it with all of you!"

They find the island and with it a whole bunch of skeptical islanders. Skeptical that is, until the locals see the blonde who they decide will make their local god, something called KONG, a really neat sacrifice.

Under the cover of darkness, they strike and take the girl captive and offer her to KONG as an extraordinary offering. KONG, a 40 foot ape, takes one look at his prize offering and evidently decides, to head back through the prehistoric jungle to the safety of his lair with his newly found curiosity piece.

The following segment portions of the movie entails the mad dash by the crew to save the girl and the lost of most of the men in the attempt.

It culminates when joined by the rest of the entire crew, they finally manage to capture KONG throwing at him gas bombs and bringing him back to be exhibited on stage on Broadway.

"I don't think so" roars KONG, as he escapes and plunges New York City into bedlam looking for the twice terrified blonde object of his affections. The story's finale, everyone on this planet knows I'm certain. So there it is, the scenario.

THE TEMPO:
The pace is fast, intense, bold, ominous, and leaves the audience gasping for more in anticipation of finding out just who or what is "KONG". The viewer is already set for action within the first four minutes of the movie taking place at the Hoboken, N.J. ship yard.

The audiences' seats are barely warm when they learn that a weather worn cargo ship "must" be ready to sail at dawn - at all cost. There is a threat of fire marshals closing down the operation because of tons of gas bombs and enough "ammunition to blow up the harbor"; a crew has been hired which is three times the size of the one needed for a ship that size; and there is no leading lady yet as no girl in New York wants to risk going on an assignment with Denham. “But why?”

This last fact apparently doesn't perturb Carl Denham the producer. He shouts as he storms out of the captain's bridge - "I'll get a girl even if I have to marry one!" And the audience somehow knows that he really means it!

The dialogue is quick. Rapid fire quick. It is straight to the point as was typical of the movies of this era and leaves very little to the imagination of the viewer except - "just what is this KONG?"

SUMMATION:

I read many other reviews and have seen some of the mindless banter which is supposed to be an intelligent review. I've read someone question why any car would bounce off the street, unto the sidewalk and crash into a building. Well, I'd probably do the same if I suddenly saw a 40 foot ape step in front of my Nissan Sentra ;^(

I've heard some say the movie is dated and passé'. Well, I'm sure the Sistine Chapel is also dated and passé' yet, it is a classic nevertheless and doesn't need to be copied over and over again in perpetual embarrassment to the history of art.

It's musical score is without comparison and the characterizations of all players (far too many to even begin to mention in this review) are classic still being discussed almost eighty years after the fact.

The special effects were phenomenal for it's time and let's face it - a computer can do almost anything, anyway. So which has the greater merit? I would say both have merit but they’re still talking about Willis O'Brien.

The mere launching of this cinema event not only saved RKO, but indeed, Hollywood itself from bankruptcy and ensured our culture forever on film for posterity sake.

And last but not lease, we still have people writing about the little furry individual and debating his merit - almost with over 19,700,000 entries on “Google” alone concerning King Kong.

Does this film, later given much world recognition but never awarded even one Oscar by the establishment which it helped save from oblivion, qualify as a classic? You tell me.

I profusely apologize to the readers of this several part review of the 1933 original version of “King Kong”. I wish I could have shorten it a bit, but felt it would not do it the justice it deserved.

Many volumes have already been written about King Kong, Fay Wray, movie classics, and horror-action movies as such. Many more will continue to be written in the years to still come. And I hope this has not been found by you the reader to be either presumptuous or boring.

I thank you, the Epinions reader, Epinions.Com, and especially the work of Steve Hill and his Fay Wray Pages. What an inspiration and a “must visit” on the web!

I’d also like to invite you to visit a mini-site which I put together at:

http://www.christepublishers.com/kingkonghome.html

I had fun putting it together and pirating, (well, not really), photos from the Internet.

And I especially thank God I had the wonderful experience to be one of the original “Million Dollar Movie King Kong Babies”, in an apartment on West 157 Street in Manhattan sometime in 1956. The Golden Age of Television was nearing it's zenith and glory - and so was King Kong, the Eighth Wonder of the World, this time to a new generation! Thank you once again Lord!


Recommended:
Yes

Viewing Format: VHS
Video Occasion: Better than Watching TV
Suitability For Children: Suitable for Children Age 9 - 12