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The original 1933 version of King Kong directed by Merian C. Cooper and Ernest B. Shoedsack is definitely considered a hard film to watch for most members of the later generations. Still considered one of the most advanced films of its time, King Kong today, though a classic, just doesn't have the special effects, the pizzazz to capture an audience. However, regardless of how modern day audiences view the original film, when it was released in 1933 audiences were stunned. Not only did the film have effects that had never before been seen, but the concept and story line were also something new.
The film itself starts out extremely realistically, with the main protagonist, Carl Denham finding himself in the same position as the directors, Cooper and Shoedsack. Used to filming wild animals and tribes in a more documentary-like style of storytelling, Denham is told by the studios that a modern film needs romance to capture an audience. In this regard, King Kong’s success was largely due to its replication of what was happening in America at the time. In the twenties and thirties, America was suffering from a depression, as was most of the world. Early on, King Kong shows this aching depression: when we first see the main female protagonist, ms Ann Darrow, Denham finds her in his search for a leading lady, as she is caught trying to steal an apple, as shown in this scene: King Kong, 1933 - Denham meets Darrow
As Denham buys her a meal and convinces Ann to join him on the adventure of a lifetime, he learns that Ann is unemployed and starving, and this introduces us to the films financial standpoint. Already, the film has become relatable to the general populous, as well as promising the idea of an adventure to a mysterious land, something that would have been highly intriguing to the general population of America in the 1930s. Once aboard the ship, Denham informs the crew that he has obtained a map, and they will instead be sailing to a primitive island. With this statement, the films adventure begins. This allows the audience to escape from their reality,to let their imaginations freely follow Denham, and go along for the ride with the films magical adventure fantasy. During the depression this was a great feat, as many people were considered poor during the depression, and the cinema was a cheap means of entertainment. Therefore, by creating a new world for viewers to escape to, more and more viewers were likely to see the film.
It is also worth noting the primitive nature of Kong. Kong is, in all essence, a primate, and seemingly has nothing but basic urges, he sees Ann as a kind of sexual play thing, and steals her away to have his way with her. Such a primitive way of thinking is strange to the people of 1933, and creates a strange, but intriguing character of Kong. He is alone, fighting with the other creatures he shares his island with, shunned by the humans, possibly his closest relatives. Kong is an outcast and sees in Ann the possibility of a mate. This adds to the allure of the primitive, the unknown and the fantasy of the story, but also allows the audience to empathise with Kong, and to realize that he may not be so much of a monster after all.
The amazing thing about how these how filmmakers created the fantasy of Skull Island and Kong, is in the ideas and technology used to create it. These filmmakers used the idea of going backward to look for something new and exciting for their films, as opposed to looking forward, which was the general idea of modernism. The idea of a primitive island was highly fascinating to people living in the western world in the early 20th Century, with very little known of primitive cultures by the uneducated public, and the idea of an untouched primitive land, with fantastical creatures was a real feast for the imagination. And so the biggest exploit of the film were the creatures and their creation. Cooper and Shoedsack wanted to create something the likes of which had never been seen, in order to truly captivate audiences, and so they turned to one of the most modern and innovative means of animating a live action, 18ft tall giant ape – stop motion. Willis O’Brien was the lead animator brought on board to bring the King of Skull Island and other fantasy creatures to life in King Kong. When Denham and the crew go after Kong in order to rescue Ann, they encounter, at close range, a stegosaurus, and the magic of stop motion in 1933 can truly be witnessed.
Stop motion photography is the concept of using a clay, plasticine and wire figurine, and moving it ever so slightly before taking a photograph. As each of the photographs are played, the minds eye is tricked into seeing motion. In 1933, this was the most cutting edge technology the movie industry had ever seen.
Willis O'Brien - Stop Motion Photography, 1984
With stop-motion photography, O’Brien was able to create creatures that could capture the imagination of a nation, and of the world. Interestingly, it should also be noted, that the most primal aspects of this film, the very creatures that should only have existed millions of years ago, were brought to life by the most modern of technologies.
So in fact, if we look at these aspects of the film that helped to make it so successful: replication of the world as it was in 1933 gained recognition from the audience, the idea of adventure in a primal land gained imagination and excitment, and last was the allure of the primitive character of Kong and the brilliant technology of stop-motion that brought him to life - we can see that the filmmakers really did achieve a film like none that had come before it, and set a new benchmark in fantasy cinema.
Samantha Churcher, z3303723
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