King Kong (1933)

General Information

Directors: Merian C. Cooper and Ernest B. Schoedsack (Uncredited)

Writers: James Creelman and Ruth Rose

Cast: Fay Wray, Robert Armstrong, Bruce Cabot, Frank Reicher, Sam Hardy, Noble Johnson, Steve Clemento, James Flavin, and King Kong

Composer: Max Steiner

Release Date: 4/7/1933

MPAA Rating: Not Rated



Having recruited Ann Darrow (Fay Wray) to star in his latest picture, film producer Carl Denham (Robert Armstrong) embarks on a voyage to Skull Island, unsure of what to expect. Upon arrival, Denham and his shipmates—John Driscoll (Bruce Cabot), Capt. Englehorn (Frank Reicher), and several others—encounter a giant,king-kong aggressive ape known as Kong (later nicknamed “The Eighth Wonder of the World”). When Kong kidnaps Ann—presented as a sacrifice by the island natives—and returns with her to the jungle, Driscoll and his crewmates must battle a variety of creatures while searching for their female passenger.

A “modern” retelling of Beauty and the Beast, King Kong should be viewed by monster buffs and classic movie fans alike. Especially commendable are the contributions of Willis H. O’Brien, whose stop-motion cinematography would inspire numerous filmmakers (e.g., Ray Harryhausen) in the years following 1933.



king-kongDespite remaining absent until the halfway mark, Kong is made into a mysterious, nightmarish figure by the rumors and speculation of Denham, Englehorn, and members of the Venture crew—a rare case of expository dialogue effectively building and maintaining suspense. As the characters approach Skull Island, a creepy, impenetrable fog layer serves to embody the unknown essence of Kong, still considered a thing of legend at this point in the story. Also praiseworthy is the haunting score of Max Steiner, which, when coupled with the aforementioned use of fog, establishes an eerie atmosphere leading into the introduction of Kong himself.

king-kongWhile terrorizing New York City in the final act, Kong will undoubtedly perturb those of a claustrophobic nature. Possibly the most horrifying scene ever showcased in a giant monster movie, Kong’s train assault preys upon a primal fear shared by all humans: to be trapped by a predatory and carnivorous animal. A similar effect is later induced by Kong’s theater rampage, during which crowd members are trampled by one another while attempting to escape—a brilliant, surreal, and terrifying use of the fish-out-of-water trope.



king-kongKing Kong is marred by wooden performances and one-dimensional protagonists. A lack of character development becomes particularly problematic during the Skull Island sequences; specifically, viewers are given no reason to root for Denham, Driscoll, or any of the Venture crewmen as they struggle to protect themselves from dinosaurs, giant lizards, and other remnants of a prehistoric era.



By endowing Kong with human features, director Merian C. Cooper succeeded in crafting a beast with whom the audience can sympathize—a defining aspectking-kong of almost every classic monster movie. It should be noted, however, that Kong shows no hesitation when attacking those who stand in his way. As a result, Kong—like Frankenstein’s monster and the Gill Man—evokes compassion only in small doses and never to the detriment of his fearsome characteristics. (The same can hardly be said of Peter Jackson’s Kong, whose anthropomorphic qualities are overplayed to the point of sappiness.)


Concluding Comments

king-kongFor blending adventure/fantasy themes with commentary on the human condition, King Kong earns its reputation as the greatest giant monster film ever made. Notably, Kong’s enslavement, escape, and iconic demise atop the Empire State Building make a chilling statement, however subtle, on the human tendency to both exploit and despise that which cannot be explained by conventional science.


Overall Quality: 10/10


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