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This document may not be reprinted without the express written permission of Texarkana Gazette, Inc. King Kong is a 1933 American pre-Code monster adventure film directed and produced by Merian C. In New York Harbor, filmmaker Carl Denham, famous for making wildlife films in remote and exotic locations, charters Captain Englehorn’s ship, the Venture, for his new project. However, he is unable to secure an actress for a female role he has been reluctant to disclose. Denham reveals to the crew that their destination is in fact Skull Island, an uncharted territory. He alludes to a monstrous creature named Kong, rumored to dwell on the island.
The crew arrives and anchor offshore. They encounter a native village, separated from the rest of the island by an ancient stone wall. They witness a group of natives preparing to sacrifice a young woman termed the “bride of Kong”. That night, natives kidnap Ann from the ship and take her to their altar, where she is offered to Kong, an enormous gorilla-like creature. Kong carries Ann into the wilderness as Denham, Driscoll and some volunteers enter the jungle in hopes of rescuing her. They are ambushed by another giant creature, a Stegosaurus, which they manage to defeat. A Tyrannosaurus attacks Ann and Kong, but he kills it in battle.
Meanwhile, Driscoll continues to follow them, while Denham returns to the village for more men. Upon arriving in Kong’s lair, Ann is menaced by a snake-like Elasmosaurus, which Kong also kills. Shackled in chains, Kong is taken to New York City and presented to a Broadway theatre audience as “Kong, the Eighth Wonder of the World”. Ann and Jack are brought on stage to join him, surrounded by a group of press photographers. Kong, believing that the ensuing flash photography is an attack, breaks loose.
An articulated skeleton of the Brontosaurus used in the film. In the early 20th century, few zoos had primate exhibits so there was popular demand to see them on film. 1929 by studying a tribe of baboons in Africa while filming The Four Feathers. Cooper took his concept to Paramount Studios in the first years of the Great Depression but executives shied away from a project that sent film crews on costly shoots to Africa and Komodo. When Cooper screened O’Brien’s stop-motion Creation footage, he was unimpressed, but realized he could economically make his gorilla picture by scrapping the Komodo dragons and costly location shoots for O’Brien’s animated dinosaurs and the studio’s existing jungle set.