King Kong

“I’m gonna make the greatest picture in the world. Something that nobody’s ever seen or heard of. They’ll have to think up a lot of new adjectives when I come back“.

Those prophetic words from eccentric director Carl Denham (played by a tarantism-afflicted Robert Armstrong) are more than adequate to convey this film’s revolutionary nature: it’s a masterpiece of unprecedented visual impact that superbly integrates numerous genres – adventure, fantasy, romance, horror – while simultaneously chalking up a series of pioneering observations on the pathological aspects of capitalistic society in general, and the showbiz world in particular. In that regard, it touches on everything, ranging from an exaggerated tendency to sensationalize, to the cynicism typical of business logic, to the general public’s passive consumption of anything that’s passed off as “entertainment” (the scene with the giant gorilla chained up and on display for spectators’ morbid curiosity is reminiscent of certain sad episodes from early 20th century American history, such as the public execution of Big Mary the elephant).

As a modern version of “Beauty and the Beast”, the Cooper/Schoedsack film lends itself to an interpretation focusing on the theme of differences, although legitimate doubts remain about the level of critical awareness with which certain issues were treated. Indeed, accusations concerning the presence of thinly veiled racist, sexist, and anti-environmental messages certainly aren’t groundless. (Of note, colonial stereotypes of the island’s natives and the alleged resemblance of Kong’s facial features to those of individuals of African origin).

All that doesn’t negate the fact that this is a work rich in symbolism with various possible interpretations and which, for the first time in the history of the Seventh Art, successfully turns a fictional creature (special effects artist Willis O’Brien, father of stop-motion animation, produced the extraordinary animations) into the story’s genuine center of gravity. Emotion, fear, adrenaline, eroticism – it all revolves around the gargantuan ape and his passion for the nymphet Ann (for her part, Fay Wray exudes a heart-stopping sensuality).

The three-act “King Kong” screenplay by James A. Creelman and Ruth Rose is based on a story by famous detective and adventure writer Edgar Wallace (who sadly passed away during filming), and the film continues to dazzle audiences today thanks to its skillful production and monumental, exotic scenography.

Among countless memorable scenes, we would cite the bloody clash with the tyrannosaur, the scantily dressed Wray after the special attention afforded her by the monster, and the final climb up the Empire State Building.

Followed a few months later by the poorly received “Son of Kong” (1933).