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King Kong is a giant movie monster, resembling an enormous ape, that has appeared in various media since 1933. The character first appeared in the 1933 film King Kong from RKO Pictures, which received universal acclaim upon its initial release and re-releases. A sequel quickly followed that same year with The Son of Kong, featuring Little Kong. In the 1960s, Toho produced King Kong vs. Godzilla (1962), pitting a larger Kong against Toho's own Godzilla, and King Kong Escapes (1967), based on The King Kong Show (1966–1969) from Rankin/Bass Productions. In 1976, Dino De Laurentiis produced a modern remake of the original film directed by John Guillermin. A sequel, King Kong Lives, followed a decade later featuring a Lady Kong. Another remake of the original, this time set in 1933, was released in 2005 from filmmaker Peter Jackson.

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The most recent film, Kong: Skull Island (2017), set in 1973, is part of Legendary Entertainment's MonsterVerse, which began with Legendary's reboot of Godzilla in 2014. A crossover sequel, Godzilla vs. Kong, once again pitting the characters against one another, is currently planned for 2020.

The character of King Kong has become one of the world's most famous movie icons, having inspired a number of sequels, remakes, spin-offs, imitators, parodies, cartoons, books, comics, video games, theme park rides, and a stage play.^[5] His role in the different narratives varies, ranging from a rampaging monster to a tragic antihero.

• 1Overview
  • 1.5King Kong (Toho)

Overview[edit]

The King Kong character was conceived and created by American filmmaker Merian C. Cooper. In the original film, the character's name is Kong, a name given to him by the inhabitants of 'Skull Island' in the Indian Ocean, where Kong lives along with other oversized animals, such as plesiosaurs, pterosaurs and various dinosaurs. An American film crew, led by Carl Denham, captures Kong and takes him to New York City to be exhibited as the 'Eighth Wonder of the World'.

Kong escapes and climbs the Empire State Building, only to fall from the skyscraper after being attacked by airplanes with guns. Denham comments 'it wasn't the airplanes, It was beauty killed the beast', for he climbs the building in the first place only in an attempt to protect Ann Darrow, an actress originally offered up to Kong on Skull Island as a sacrifice (in the 1976 remake, her character is named 'Dwan').

A pseudo-documentary about Skull Island that appears on the DVD for the 2005 remake (originally seen on the Sci-Fi Channel at the time of its theatrical release) gives Kong's scientific name as Megaprimatus kong^[6] ('Megaprimatus', deriving from the prefix 'mega-' and the Latin words 'primate' and 'primatus', means 'big primate' or 'big supreme being') and states that his species may be related to Gigantopithecus, though that genus of giant ape is more closely related to orangutans than to gorillas.

Conception and creation[edit]

Merian C. Cooper became fascinated by gorillas at the age of 6.^[7] In 1899, he was given a book from his uncle called Explorations and Adventures in Equatorial Africa.^[8] The book (written in 1861), chronicled the adventures of Paul Du Chaillu in Africa and his various encounters with the natives and wildlife there.^[9] Cooper became fascinated with the stories involving the gorillas, in particular, Du Chaillu's depiction of a particular gorilla known for its 'extraordinary size',^[10] that the natives described as 'invincible' and the 'King of the African Forest'.^[11] When Du Chaillu and some natives encountered a gorilla later in the book he described it as a 'hellish dream creature' that was 'half man, half beast'.^[12]

As an adult, Cooper became involved in the motion picture industry. While filming The Four Feathers in Africa, he came into contact with a family of baboons.^[13] This gave him the idea to make a picture about primates.^[14] A year later when he got to RKO, Cooper wanted to film a 'terror gorilla picture'. As the story was being fleshed out, Cooper decided to make his gorilla giant sized. Cooper stated that the idea of Kong fighting warplanes on top of a building came from him seeing a plane flying over the New York Insurance Building, then the tallest building in the world.^[15] He came up with the ending before the rest of the story as he stated, 'Without any conscious effort of thought I immediately saw in my mind's eye a giant gorilla on top of the building'.^[16] Cooper also was influenced by Douglas Burden's accounts of the Komodo dragon,^[17] and wanted to pit his terror gorilla against dinosaur-sized versions of these reptiles, stating to Burden, 'I also had firmly in mind to giantize both the gorilla and your dragons to make them really huge. However I always believed in personalizing and focusing attention on one main character and from the very beginning I intended to make it the gigantic gorilla, no matter what else I surrounded him with'.^[17] Around this time, Cooper began to refer to his project as a 'giant terror gorilla picture' featuring 'a gigantic semi-humanoid gorilla pitted against modern civilization'.^[18]

When designing King Kong, Cooper wanted him to be a nightmarish gorilla monster. As he described Kong in a 1930 memo, 'His hands and feet have the size and strength of steam shovels; his girth is that of a steam boiler. This is a monster with the strength of a hundred men. But more terrifying is the head—a nightmare head with bloodshot eyes and jagged teeth set under a thick mat of hair, a face half-beast half-human'.^[19]Willis O'Brien created an oil painting depicting the giant gorilla menacing a jungle heroine and hunter for Cooper.^[20][21] However, when it came time for O'Brien and Marcel Delgado to sculpt the animation model, Cooper decided to backpedal on the half-human look for the creature and became adamant that Kong be a gorilla. O'Brien on the other hand, wanted him to be almost human-like to gain audience empathy, and told Delgado to 'make that ape almost human'.^[22] Cooper laughed at the end result, saying that it looked like a cross between a monkey and a man with very long hair.^[22] For the second model, O'Brien again asked Delgado to add human features but to tone it down somewhat. The end result (which was rejected) was described as looking like a missing link.^[22] Disappointed, Cooper stated, 'I want Kong to be the fiercest, most brutal, monstrous damned thing that has ever been seen!'^[22] On December 22, 1931, Cooper got the dimensions of a bull gorilla from the American Museum of Natural History telling O'Brien, 'Now that's what I want!'^[22] When the final model was created, it had the basic look of a gorilla but managed to retain some human-like qualities. For example, Delgado streamlined the body by removing the distinctive paunch and rump of a gorilla.^[23] O'Brien would incorporate some characteristics and nuances of an earlier creature he had created in 1915 for the silent short The Dinosaur and the Missing Link into the general look and personality of Kong, even going as far as to refer to the creature as 'Kong's ancestor'.^[24][25] When it came time to film, Cooper agreed that Kong should walk upright at times (mostly in the New York sequences) in order to appear more intimidating.^[26]

Origin of the name[edit]

Merian C. Cooper was very fond of strong, hard-sounding words that started with the letter 'K'. Some of his favorite words were 'Komodo', 'Kodiak' and 'Kodak'.^[27] When Cooper was envisioning his giant terror gorilla idea, he wanted to capture a real gorilla from the Congo and have it fight a real Komodo dragon on Komodo Island (this scenario would eventually evolve into Kong's battle with the tyrannosaur on Skull Island when the film was produced a few years later at RKO). Cooper's friend Douglas Burden's trip to the island of Komodo and his encounter with the Komodo dragons was a big influence on the Kong story.^[28] Cooper was fascinated by Burden's adventures as chronicled in his book Dragon Lizards of Komodo where he referred to the animal as the 'King of Komodo'.^[27] It was this phrase along with 'Komodo' and 'Kongo' [sic] (and his overall love for hard sounding 'K'-words)^[29] that gave him the idea to name the giant ape 'Kong'. He loved the name, as it had a 'mystery sound' to it.

When Cooper got to RKO and wrote the first draft of the story, it was simply referred to as 'The Beast'. RKO executives were unimpressed with the bland title. David O. Selznick suggested Jungle Beast as the film's new title,^[30] but Cooper was unimpressed and wanted to name the film after the main character. He stated he liked the 'mystery word' aspect of Kong's name and that the film should carry 'the name of the leading mysterious, romantic, savage creature of the story' such as with Dracula and Frankenstein.^[30] RKO sent a memo to Cooper suggesting the titles Kong: King of Beasts, Kong: The Jungle King, and Kong: The Jungle Beast, which combined his and Selznick's proposed titles.^[30] As time went on, Cooper would eventually name the story simply Kong while Ruth Rose was writing the final version of the screenplay. Because David O. Selznick thought that audiences would think that the film, with the one word title of Kong, would be mistaken as a docudrama like Grass and Chang, which were one-word titled films that Cooper had earlier produced, he added the 'King' to Kong's name in order to differentiate it.^[31]

Appearances and abilities[edit]

In his first appearance in King Kong (1933), Kong was a gigantic prehistoric ape, or as RKO's publicity materials described him, 'A prehistoric type of ape.'^[32] While gorilla-like in appearance, he had a vaguely humanoid look and at times walked upright in an anthropomorphic manner. Indeed, Carl Denham describes him as being 'neither beast nor man'.

Like most simians, Kong possesses semi-human intelligence and great physical strength. Kong's size changes drastically throughout the course of the film. While creator Merian C. Cooper envisioned Kong as being '40 to 50 feet tall',^[33] animator Willis O'Brien and his crew built the models and sets scaling Kong to be only 18 feet (5.5 m) tall on Skull Island, and rescaled to be 24 feet (7.3 m) tall in New York.^[34]

This did not stop Cooper from playing around with Kong's size as he directed the special effect sequences; by manipulating the sizes of the miniatures and the camera angles, he made Kong appear a lot larger than O'Brien wanted, even as large as 60 feet (18.3 m) in some scenes.

As Cooper stated in an interview:

I was a great believer in constantly changing Kong's height to fit the settings and the illusions. He's different in almost every shot; sometimes he's only 18 feet tall and sometimes 60 feet or larger. This broke every rule that O'Bie and his animators had ever worked with, but I felt confident that if the scenes moved with excitement and beauty, the audience would accept any height that fitted into the scene. For example, if Kong had only been 18 feet high on the top of the Empire State Building, he would have been lost, like a little bug; I constantly juggled the heights of trees and dozens of other things. The one essential thing was to make the audience enthralled with the character of Kong so that they wouldn't notice or care that he was 18 feet high or 40 feet, just as long as he fitted the mystery and excitement of the scenes and action.^[35]

Concurrently, the Kong bust made for the film was built in scale with a 40-foot (12.2 m) ape,^[36] while the full sized hand of Kong was built in scale with a 70-foot (21.3 m) ape.^[37] Meanwhile, RKO's promotional materials listed Kong's official height as 50 feet (15.2 m).^[32]

In the 1960s, Toho Studios from Japan licensed the character for the films King Kong vs. Godzilla and King Kong Escapes. For more details on these versions of the character, see below.

In 1975, Italian producer Dino De Laurentiis paid RKO for the remake rights to King Kong. This resulted in King Kong (1976). This Kong was an upright walking anthropomorphic ape, appearing even more human-like than the original. Also like the original, this Kong had semi-human intelligence and vast strength. In the 1976 film, Kong was scaled to be 42 feet (12.8 m) tall on Skull island and rescaled to be 55 feet (16.8 m) tall in New York.^[38] Ten years later, Dino De Laurentiis got the approval from Universal to do a sequel called King Kong Lives. This Kong had more or less the same appearance and abilities, but tended to walk on his knuckles more often and was enlarged, scaled to 60 feet (18.3 m).^[39]

Universal Studios had planned to do a King Kong remake as far back as 1976. They finally followed through almost 30 years later, with a three-hour film directed by Peter Jackson. Jackson opted to make Kong a gigantic silverback gorilla without any anthropomorphic features. This Kong looked and behaved more like a real gorilla: he had a large herbivore's belly, walked on his knuckles without any upright posture, and even beat his chest with his palms as opposed to clenched fists. In order to ground his Kong in realism, Jackson and the Weta Digital crew gave a name to his fictitious species Megaprimatus kong and suggested it to have evolved from the Gigantopithecus. Kong was the last of his kind. He was portrayed in the film as being quite old, with graying fur and battle-worn with scars, wounds, and a crooked jaw from his many fights against rival creatures. He is the dominant being on the island, the king of his world. But, like his film predecessors, he possesses considerable intelligence and great physical strength; he also appears far more nimble and agile. This Kong was scaled to a consistent height of 25 feet (7.6 m) tall on both Skull Island and in New York.^[40] Jackson describes his central character:

We assumed that Kong is the last surviving member of his species. He had a mother and a father and maybe brothers and sisters, but they’re dead. He's the last of the huge gorillas that live on Skull Island .. when he goes .. there will be no more. He's a very lonely creature, absolutely solitary. It must be one of the loneliest existences you could ever possibly imagine. Every day, he has to battle for his survival against very formidable dinosaurs on the island, and it's not easy for him. He's carrying the scars of many former encounters with dinosaurs. I’m imagining he's probably 100 to 120 years old by the time our story begins. And he has never felt a single bit of empathy for another living creature in his long life; it has been a brutal life that he's lived.^[41]

In the 2017 film Kong: Skull Island, Kong is scaled to be 104 feet (31.7 m) tall, making it the biggest incarnation in the series.^[42] Director Jordan Vogt-Roberts stated in regard to Kong's immense stature:

The thing that most interested me was, how big do you need to make [Kong], so that when someone lands on this island and doesn’t believe in the idea of myth, the idea of wonder – when we live in a world of social and civil unrest, and everything is crumbling around us, and technology and facts are taking over – how big does this creature need to be, so that when you stand on the ground and you look up at it, the only thing that can go through your mind is: 'That's a god!'^[43]

He also stated that the original 1933 look was the inspiration for the design, saying:

We sort of went back to the 1933 version in the sense that he’s a bipedal creature that walks in an upright position, as opposed to the anthropomorphic, anatomically correct silverback gorilla that walks on all fours. Our Kong was intended to say, like, this isn’t just a big gorilla or a big monkey. This is something that is its own species. It has its own set of rules, so we can do what we want and we really wanted to pay homage to what came before…and yet do something completely different, and If anything, our Kong is meant to be a throwback to the ’33 version. I don’t think there’s much similarity at all between our version and Peter [Jackson]’s Kong. That version is very much a scaled-up silverback gorilla, and ours is something that is slightly more exaggerated. A big mandate for us was, How do we make this feel like a classic movie monster?^[44]

Co-producer Mary Parent also stated that Kong is still young and not fully grown as she explains, 'Kong is an adolescent when we meet him in the film; he's still growing into his role as alpha'.^[45]

Legal rights[edit]

While one of the most famous movie icons in history, King Kong's intellectual property status has been questioned since his creation, featuring in numerous allegations and court battles. The rights to the character have always been split up with no single exclusive rights holder. Different parties have also contested that various aspects are public domain material and therefore ineligible for copyright status.

When Merian C. Cooper created King Kong, he assumed that he owned the character, which he had conceived in 1929, outright. Cooper maintained that he had only licensed the character to RKO for the initial film and sequel, but had otherwise owned his own creation. In 1935, Cooper began to feel something was amiss when he was trying to get a Tarzan vs. King Kong project off the ground for Pioneer Pictures (where he had assumed management of the company). After David O. Selznick suggested the project to Cooper, the flurry of legal activity over using the Kong character that followed—Pioneer had become a completely independent company by this time and access to properties that RKO felt were theirs was no longer automatic—gave Cooper pause as he came to realize that he might not have full control over this product of his own imagination after all.^[46]

Years later in 1962, Cooper found out that RKO was licensing the character through John Beck to Toho studios in Japan for a film project called King Kong vs. Godzilla. Cooper had assumed his rights were unassailable and was bitterly opposed to the project. In 1963 he filed a lawsuit to enjoin distribution of the movie against John Beck, as well as Toho and Universal (the film's U.S. copyright holder).^[47] Cooper discovered that RKO had also profited from licensed products featuring the King Kong character such as model kits produced by Aurora Plastics Corporation. Cooper's executive assistant, Charles B. FitzSimons, stated that these companies should be negotiating through him and Cooper for such licensed products and not RKO. In a letter to Robert Bendick, Cooper stated:

My hassle is about King Kong. I created the character long before I came to RKO and have always believed I retained subsequent picture rights and other rights. I sold to RKO the right to make the one original picture King Kong and also, later, Son of Kong, but that was all.^[48]

Cooper and his legal team offered up various documents to bolster the case that Cooper owned King Kong and had only licensed the character to RKO for two films, rather than selling him outright. Many people vouched for Cooper's claims, including David O. Selznick, who had written a letter to Mr. A. Loewenthal of the Famous Artists Syndicate in Chicago in 1932 stating (in regard to Kong), 'The rights of this are owned by Mr. Merian C. Cooper.'^[48] But Cooper had lost key documents through the years (he discovered these papers were missing after he returned from his World War II military service) such as a key informal yet binding letter from Mr. Ayelsworth (the then-president of the RKO Studio Corp.) and a formal binding letter from Mr. B. B. Kahane (the current president of RKO Studio Corp.) confirming that Cooper had only licensed the rights to the character for the two RKO pictures and nothing more.^[49]

Without these letters, it seemed Cooper's rights were relegated to the Lovelace novelization that he had copyrighted (he was able to make a deal for a Bantam Books paperback reprint and a Gold Key comic adaptation of the novel, but that was all that he could do). Cooper's lawyer had received a letter from John Beck's lawyer, Gordon E. Youngman, that stated:

For the sake of the record, I wish to state that I am not in negotiation with you or Mr. Cooper or anyone else to define Mr. Cooper's rights in respect of King Kong. His rights are well defined, and they are non-existent, except for certain limited publication rights.^[50]

In a letter addressed to Douglas Burden, Cooper lamented:

It seems my hassle over King Kong is destined to be a protracted one. They'd make me sorry I ever invented the beast, if I weren't so fond of him! Makes me feel like Macbeth: 'Bloody instructions which being taught return to plague the inventor.'^[50]

The rights over the character did not flare up again until 1975, when Universal Studios and Dino De Laurentiis were fighting over who would be able to do a King Kong remake for release the following year. De Laurentiis came up with $200,000 to buy the remake rights from RKO.^[51] When Universal got wind of this, they filed a lawsuit against RKO, claiming that they had a verbal agreement from them regarding the remake. During the legal battles that followed, which eventually included RKO countersuing Universal, as well as De Laurentiis filing a lawsuit claiming interference, Colonel Richard Cooper (Merian's son and now head of the Cooper estate) jumped into the fray.^[52]

During the battles, Universal discovered that the copyright of the Lovelace novelization had expired without renewal, thus making the King Kong story a public domain one. Universal argued that they should be able to make a movie based on the novel without infringing on anyone's copyright because the characters in the story were in the public domain within the context of the public domain story.^[53] Richard Cooper then filed a cross-claim against RKO claiming that, while the publishing rights to the novel had not been renewed, his estate still had control over the plot/story of King Kong.^[52]

In a four-day bench trial in Los Angeles, Judge Manuel Real made the final decision and gave his verdict on November 24, 1976, affirming that the King Kong novelization and serialization were indeed in the public domain, and Universal could make its movie as long as it did not infringe on original elements in the 1933 RKO film,^[54] which had not passed into the public domain^[55] (Universal postponed their plans to film a King Kong movie, called The Legend of King Kong, for at least 18 months, after cutting a deal with Dino De Laurentiis that included a percentage of box office profits from his remake).^[56]

However, on December 6, 1976, Judge Real made a subsequent ruling, which held that all the rights in the name, character, and story of King Kong (outside of the original film and its sequel) belonged to Merian C. Cooper's estate. This ruling, which became known as the 'Cooper judgment', expressly stated that it would not change the previous ruling that publishing rights of the novel and serialization were in the public domain. It was a huge victory that affirmed the position Merian C. Cooper had maintained for years.^[54] Shortly thereafter, Richard Cooper sold all his rights (excluding worldwide book and periodical publishing rights) to Universal in December 1976. In 1980 Judge Real dismissed the claims that were brought forth by RKO and Universal four years earlier and reinstated the Cooper judgement.^[57]

In 1982 Universal filed a lawsuit against Nintendo, which had created an impish ape character called Donkey Kong in 1981 and was reaping huge profits over the video game machines. Universal claimed that Nintendo was infringing on its copyright because Donkey Kong was a blatant rip-off of King Kong.^[57] During the court battle and subsequent appeal, the courts ruled that Universal did not have exclusive trademark rights to the King Kong character. The courts ruled that trademark was not among the rights Cooper had sold to Universal, indicating that 'Cooper plainly did not obtain any trademark rights in his judgment against RKO, since the California district court specifically found that King Kong had no secondary meaning.'^[55] While they had a majority of the rights, they did not outright own the King Kong name and character.^[58] The courts ruling noted that the name, title, and character of Kong no longer signified a single source of origin so exclusive trademark rights were impossible.^[59] The courts also pointed out that the Kong rights were held by three parties:

• RKO owned the rights to the original film and its sequel.
• The Dino De Laurentiis company (DDL) owned the rights to the 1976 remake.
• Richard Cooper owned worldwide book and periodical publishing rights.^[58]

The judge then ruled that 'Universal thus owns only those rights in the King Kong name and character that RKO, Cooper, or DDL do not own.'^[60]

The court of appeals would also note:

First, Universal knew that it did not have trademark rights to King Kong, yet it proceeded to broadly assert such rights anyway. This amounted to a wanton and reckless disregard of Nintendo's rights.

Second, Universal did not stop after it asserted its rights to Nintendo. It embarked on a deliberate, systematic campaign to coerce all of Nintendo's third party licensees to either stop marketing Donkey Kong products or pay Universal royalties.

Finally, Universal's conduct amounted to an abuse of judicial process, and in that sense caused a longer harm to the public as a whole. Depending on the commercial results, Universal alternatively argued to the courts, first, that King Kong was a part of the public domain, and then second, that King Kong was not part of the public domain, and that Universal possessed exclusive trademark rights in it. Universal's assertions in court were based not on any good faith belief in their truth, but on the mistaken belief that it could use the courts to turn a profit.^[61]

Because Universal misrepresented their degree of ownership of King Kong (claiming they had exclusive trademark rights when they knew that they did not) and tried to have it both ways in court regarding the 'public domain' claims, the courts ruled that Universal acted in bad faith (see Universal City Studios, Inc. v. Nintendo Co., Ltd.). They were ordered to pay fines and all of Nintendo's legal costs from the lawsuit. That, along with the fact that the courts ruled that there was simply no likelihood of people confusing Donkey Kong with King Kong,^[58] caused Universal to lose the case and the subsequent appeal.

Since the court case, Universal still retains the majority of the character rights. In 1986 they opened a King Kong ride called King Kong Encounter at their Universal Studios Tour theme park in Hollywood (which was destroyed in 2008 by a backlot fire), and followed it up with the Kongfrontation ride at their Orlando park in 1990 (which was closed down in 2002 due to maintenance issues). They also finally made a King Kong film of their own, King Kong (2005). In the summer of 2010, Universal opened a new 3D King Kong ride called King Kong: 360 3-D at their Hollywood park, replacing the destroyed King Kong Encounter.^[62] On July 13, 2016, Universal opened a new King Kong attraction called Skull Island: Reign of Kong at Islands of Adventure in Orlando.^[63] In July 2013, Legendary Pictures reached an agreement with Universal in which it will market, co-finance, and distribute Legendary's films for five years starting in 2014, the year that Legendary's similar agreement with Warner Bros. was set to expire. Later, in July 2014 at the San Diego Comic-Con, Legendary announced (as a product of its partnership with Universal), a King Kong origin story, initially titled Skull Island, with Universal distributing.^[64] On December 12, 2014, the studio announced they had re-titled the film Kong: Skull Island. On September 10, 2015, it was announced that Universal would let Legendary Pictures move Kong: Skull Island to Warner Bros.,^[65] so they could do a King Kong and Godzilla crossover film (in the continuity of the Godzilla movie of 2014), since Legendary Pictures still had the rights to do the two Godzilla sequels with Warner Bros.^[66][67]

The Cooper estate (Richard M. Cooper LLC) retains publishing rights for the content that they claim. In 1990, they licensed a six-issue comic book adaptation of the novelization of the 1933 film to Monster Comics, and commissioned an illustrated novel in 1994 called Anthony Browne's King Kong. In 2013, they became involved with a musical stage play based on the story, called King Kong: The Eighth Wonder of the World which premiered on June 2013 in Australia^[68][69] and then on Broadway in November 2018.^[70] The production is involved with Global Creatures, the company behind the Walking with Dinosaurs arena show.^[71] Starting in 1996, artist/writer Joe DeVito began working with the Merian C. Cooper estate to write and/or illustrate various books and comics based on the King Kong character with his company DeVito Artworks. These included a pair of origin novels, 'Kong: King of Skull Island,' and 'King Kong of Skull Island,'an origin-themed comic book miniseries with Boom! Studios,^[72] an expanded rewrite of the original Lovelace novelization, 'Merian C. Cooper's King Kong,' (the original novelization's publishing rights are still in the public domain), as well as various crossovers with other franchises such as Doc Savage, Tarzan^[73] and Planet of the Apes.^[74] Also, the company licensed a soft drink with RocketFizz called King Kong Cola^[75] and have plans for a live action TV show to be co-produced between MarVista Entertainment and IM Global.^[76] In April 2016, Joe DeVito sued Legendary Pictures and Warner Bros., producers of the film Kong: Skull Island, for using elements of his Skull Island universe, which he claimed that he created and that the producers had used without his permission.^[77]

RKO (whose rights consisted of only the original film and its sequel) had its film library acquired by Ted Turner in 1986 via his company Turner Entertainment. Turner merged his company into Time Warner (now WarnerMedia) in 1996, which is how Warner Bros. owns the rights to those two films today, although the copyright over the entire RKO film library (including King Kong and The Son Of Kong) is still held by RKO Pictures LLC. In 2017, Warner Brothers co-produced the film Kong: Skull Island and in 2020 will co-produce the film Godzilla vs. Kong, after Legendary Pictures brought the projects from Universal to their company to build a shared cinematic universe.

DDL (whose rights were limited to only their 1976 remake) did a sequel in 1986 called King Kong Lives (but they still needed Universal's permission to do so).^[78] Today most of DDL's film library is owned by Studio Canal, which includes the rights to these two films. The domestic (North American) rights to the 1976 King Kong film still remain with the film's original distributor Paramount Pictures, with Trifecta Entertainment & Media handling television rights to the film via their license with Paramount.^{[citation needed]}

King Kong (Toho)[edit]

In the 1960s, Japanese studio Toho licensed the character from RKO and produced two films that featured the character, King Kong vs Godzilla (1962) and King Kong Escapes (1967). Toho's interpretation differed greatly from the original in size and abilities.

Among kaiju, King Kong was suggested to be among the most powerful in terms of raw physical force, possessing strength and durability that rivaled that of Godzilla. As one of the few mammal-based kaiju, Kong's most distinctive feature was his intelligence. He demonstrated the ability to learn and adapt to an opponent's fighting style, identify and exploit weaknesses in an enemy, and utilize his environment to stage ambushes and traps.^[79]

In King Kong vs. Godzilla, Kong was scaled to be 45 m (148 ft) tall. This version of Kong was given the ability to harvest electricity as a weapon and draw strength from electrical voltage.^[80] In King Kong Escapes, Kong was scaled to be 20 m (66 ft) tall. This version was more similar to the original, where he relied on strength and intelligence to fight and survive.^[81] Rather than residing on Skull Island, Toho's version of Kong resided on Faro Island in King Kong vs. Godzilla and on Mondo Island in King Kong Escapes.

In 1966, Toho planned to produce 'Operation Robinson Crusoe: King Kong vs. Ebirah' as a co-production with Rankin/Bass Productions however, Ishirō Honda was unavailable at the time to direct the film and, as a result, Rankin/Bass backed out of the project, along with the King Kong license.^[82] Toho still proceeded with the production, replacing King Kong with Godzilla at the last minute and shot the film as Ebirah, Horror of the Deep. Elements of King Kong's character remained in the film, reflected in Godzilla's uncharacteristic behavior and attraction to the female character Daiyo.^[83] Toho and Rankin/Bass later negotiated their differences and co-produced King Kong Escapes in 1967, loosely based on Rankin/Bass' animated show.

Toho Studios wanted to remake King Kong vs. Godzilla, which was the most successful of the entire Godzilla series of films, in 1991 to celebrate the 30th anniversary of the film, as well as to celebrate Godzilla's upcoming 40th anniversary. However, they were unable to obtain the rights to use Kong, and inititially intended to use Mechani-Kong as Godzilla's next adversary. But it was soon learned that even using a mechanical creature who resembled Kong would be just as problematic legally and financially for them. As a result, the film became Godzilla vs. King Ghidorah, with no further attempts to use Kong in any way.

Appearances[edit]

Films

• King Kong vs. Godzilla (1962)
• King Kong Escapes (1967)

TV series

King Kong 1976 Full Movie Download Free

• The King Kong Show (1966-69)

Appearances[edit]

Cultural impact[edit]

King Kong, as well as the series of films featuring him, have been featured many times in popular culture outside of the films themselves, in forms ranging from straight copies to parodies and joke references, and in media from comic books to video games.

The Beatles' 1968 animated film Yellow Submarine includes a scene of the characters opening a door to reveal King Kong abducting a woman from her bed.

The Simpsons episode 'Treehouse of Horror III' features a segment called 'King Homer' which parodies the plot of the original film, with Homer as Kong and Marge in the Ann Darrow role. It ends with King Homer marrying Marge and eating her father.^{[citation needed]}

The British comedy TV series The Goodies made an episode called 'Kitten Kong', in which a giant cat called Twinkle roams the streets of London, knocking over the British Telecom Tower.

The controversial World War IIDutch resistance fighter Christiaan Lindemans — eventually arrested on suspicion of having betrayed secrets to the Nazis — was nicknamed 'King Kong' due to his being exceptionally tall.^[84]

Frank Zappa and The Mothers of Invention recorded an instrumental about 'King Kong' in 1967 and featured it on the album Uncle Meat. Zappa went on to make many other versions of the song on albums such as Make a Jazz Noise Here, You Can't Do That on Stage Anymore, Vol. 3, Ahead of Their Time, and Beat the Boots.

The Kinks recorded a song called 'King Kong' as the B-side to their 1969 'Plastic Man' single.

In 1972, a 550 cm (18 ft) fiberglass statue of King Kong was erected in Birmingham, England.

The second track of The Jimmy Castor Bunch album Supersound from 1975 is titled 'King Kong'.^[85]

Filk Music artists Ookla the Mok's 'Song of Kong', which explores the reasons why King Kong and Godzilla should not be roommates, appears on their 2001 album Smell No Evil.^{[citation needed]}

Daniel Johnston wrote and recorded a song called 'King Kong' on his fifth self-released music cassette, Yip/Jump Music in 1983, rereleased on CD and double LP by Homestead Records in 1988. The song is an a cappella narrative of the original movie's story line. Tom Waits recorded a cover version of the song with various sound effects on the 2004 release, The Late Great Daniel Johnston: Discovered Covered.

ABBA recorded 'King Kong Song' for their 1974 album Waterloo. Although later singled out by ABBA songwriters Benny Andersson and Björn Ulvaeus as one of their weakest tracks.,^[86] it was released as a single in 1977 to coincide with the 1976 film playing in theatres.

References[edit]

1. ^Lambie, Ryan (March 10, 2017). 'The Struggles of King Kong '76'. Den of Geek. Retrieved March 28, 2018.
2. ^Trumbore, Dave (September 19, 2017). ''Transformers': Peter Cullen and Frank Welker on the Evolution of Optimus Prime and Megatron'. Collider. Archived from the original on January 30, 2019. Retrieved January 30, 2019.
3. ^Sullivan, Kevin (May 11, 2016). 'Toby Kebbell clears up Kong: Skull Island rumors'. Entertainment Weekly. Retrieved May 11, 2016.
4. ^'Kong: Skull Island (2017) End Credits'. Legendary Pictures. Archived from the original on June 13, 2017. Retrieved April 9, 2017.
5. ^Boland, Michaela (February 9, 2009). 'Global Creatures takes on 'Kong''. Variety. Retrieved March 4, 2010.
6. ^The World of Kong: A Natural History of Skull Island, p. 210
7. ^Vaz 2005, pp. 14–15.
8. ^'Getting That Monkey Off His Creator's Back'. New York Times. August 13, 2005.
9. ^Vaz 2005, pp. 14–16.
10. ^Vaz 2005, p. 10.
11. ^Vaz 2005, p. 16.
12. ^Vaz 2005, pp. 16–17.
13. ^'King Kong (1933) Notes'. TCM.
14. ^Vaz 2005, p. 167.
15. ^Goldner & Turner 1975, p. 38.
16. ^Vaz 2005, p. 186.
17. ^ ^abVaz 2005, p. 194.
18. ^Vaz 2005, p. 187.
19. ^Van Hise 1993, p. 56.
20. ^Willis O'Brien giant gorilla painting
21. ^'Willis O'Brien-Creator of the Impossible' by Don Shay, Cinefex #7, R. B. Graphics, 1982, pg. 33
22. ^ ^abcdeGoldner & Turner 1975, p. 56.
23. ^Goldner & Turner 1975, p. 58.
24. ^Paul A. Woods, King Kong Cometh!, Plexus Publishing Limited, 2005, pg. 27
25. ^Goldner & Turner 1975, p. 44.
26. ^Morton 2005, pp. 54-55.
27. ^ ^abVaz 2005, pp. 193–194.
28. ^Vaz 2005, p. 190.
29. ^Morton 2005, p. 25.
30. ^ ^abcVaz 2005, p. 220.
31. ^Goldner & Turner 1975, p. 185.
32. ^ ^ab'1933 RKO Press Page Scan'.
33. ^Goldner & Turner 1975, p. 37.
34. ^Goldner & Turner 1975, p. 159.
35. ^Van Hise 1993, p. 66.
36. ^Morton 2005, p. 36.
37. ^Karen Haber, Kong Unbound, Pocket Books, 2005, pg. 106
38. ^Morton 2005, p. 205.
39. ^Morton 2005, p. 264.
40. ^Weta Workshop, The World of Kong: A Natural History of Skull Island, Pocket Books, 2005
41. ^'King Kong- Building a Shrewder Ape'.
42. ^Kong-Sized
43. ^Franich, Darren (July 30, 2016). 'Kong: Skull Island director promises 'the biggest Kong that you've seen on screen''. Entertainment Weekly.
44. ^Smith, C. Molly (November 11, 2016). 'Kong: Skull Island unleashes exclusive first look at the movie monster''. Entertainment Weekly.
45. ^'Kong: Skull Island Production Notes And High-Res Photos'. ScifiJapan. February 19, 2017.
46. ^Vaz 2005, p. 277.
47. ^Vaz 2005, p. 361.
48. ^ ^abVaz 2005, pp. 362,455.
49. ^Vaz 2005, p. 362.
50. ^ ^abVaz 2005, pp. 363,456.
51. ^Morton 2005, p. 150.
52. ^ ^abVaz 2005, p. 386.
53. ^Morton 2005, p. 158.
54. ^ ^abVaz 2005, p. 387.
55. ^ ^abUniversal City Studios, Inc. v. Nintendo Co., Ltd.55 USLW 2152 797 F.2d 70; 230 U.S.P.Q. 409, (2nd Cir., July 15, 1986). Archived March 22, 2009, at the Wayback Machine
56. ^Morton 2005, p. 166.
57. ^ ^abVaz 2005, p. 388.
58. ^ ^abcVaz 2005, p. 389.
59. ^'Universal City Studios v. Nintendo Co., 578 F. Supp. 911 (S.D.N.Y. 1983)'. Justia US Law. December 22, 1983.
60. ^According to Mark Cotta Vaz's book on p. 389, and citation 9 on p. 458, this quote is taken from a court summary from the document Universal City Studios, Inc. v. Nintendo Co., Ltd., 578 F. Supp. at 924.
61. ^Second Court of Appeals, 1986, 77–8.
62. ^Mart, Hugo (January 27, 2010). ' King Kong to rejoin Universal tours in 3-D'. Latimes.com. Retrieved March 4, 2010.
63. ^'Skull Island: Reign of Kong Coming to Universal Orlando in 2016'. Comingsoon.net. Retrieved May 6, 2015.
64. ^Sciretta, Peter (July 27, 2014). 'Legendary Announces King Kong Prequel 'Skull Island' Movie For 2016 [Comic Con 2014]'. Slashfilm.com. Retrieved July 27, 2014.
65. ^Mendelson, Scott (September 11, 2015). 'What King Kong/Godzilla Switcharoo Says About Universal And Warner Bros. Priorities'. Forbes. Retrieved November 18, 2016.
66. ^Graser, Marc (July 9, 2013). 'Legendary Entertainment Moves to NBCUniversal (EXCLUSIVE)'. Variety. Retrieved November 18, 2015.
67. ^Kit, Borys (September 10, 2015). ''Kong: Skull Island' to Move to Warner Bros. for Planned Monster Movie Universe'. The Hollywood Reporter.com. Retrieved September 21, 2015.
68. ^Gill, Raymond (September 18, 2009). 'Kong Rises in Melbourne'. Theage.com.au. Retrieved March 4, 2010.
69. ^'King Kong live on Stage Official Website'. Kingkongliveonstage.com. Retrieved March 4, 2010.
70. ^Hetrick, Adam. 'King Kong Sets Broadway Opening Night', Playbill.com, November 8, 2017
71. ^'Robotic King Kong to star in stage musical'. CBC News. September 16, 2010.
72. ^'Asmus & Magno Take a Monstrous Trip with 'Kong of Skull Island''. Comic Book Resources. April 8, 2016. Retrieved April 8, 2016.
73. ^'THE ULTIMATE RUMBLE IN THE JUNGLE!: King Kong Vs. Tarzan Arrives This Summer!'. Forces of Geek. March 9, 2016. Retrieved March 9, 2016.
74. ^'Kong On The Planet Of The Apes: Exclusive First Look At The Comic Mini-Series'. Empire. Retrieved November 8, 2017.
75. ^'Soda Pop Labels of Fame'. Retrieved April 3, 2018.
76. ^''King Kong Skull Island' TV Series in the Works'. TheHollywoodReporter. April 18, 2017. Retrieved April 21, 2017.
77. ^Cullins, Ashley (April 28, 2016). 'Legendary, Warner Bros. Sued for Allegedly Stealing 'Kong: Skull Island' Story'. The Hollywood Reporter. Retrieved May 9, 2016.
78. ^Morton 2005, pp. 239, 241.
79. ^'King Kong Stats Page'.
80. ^'King Kong'.
81. ^'King Kong (2nd Generation)'.
82. ^'Lost Project: Operation Robinson Crusoe: King Kong vs. Ebirah'. Toho Kingdom. Retrieved October 16, 2014.
83. ^Ryfle 1998, p. 135.
84. ^Hinsley, F. H.; Simkins, C. A. G. (1990). British Intelligence in the Second World War: Volume 4, Security and Counter-Intelligence. Cambridge University Press. p. 373.
85. ^'AllMusic'. Retrieved August 20, 2013.
86. ^Sleeve notes, Waterloo re-issue, Carl Magnus Palm, 2014

Bibliography

• Affeldt, Stefanie (2015). Wulf D. Hund, Charles W. Mills, Silvia Sebastiani (eds.). 'Exterminating the Brute. Racism and Sexism in ›King Kong‹'. Simianization. Apes, Class, Gender, and Race. Berlin (Racism Analysis Yearbook 6). ISBN978-3-643-90716-5.CS1 maint: Uses editors parameter (link)
• Goldner, Orville; Turner, George E. (1975). The Making of King Kong: The Story Behind a Film Classic. A.S Barnes and Co. Inc.
• Morton, Ray (2005). King Kong: The History of a Movie Icon. Applause Theater and Cinema Books. ISBN1557836698.
• Ryfle, Steve (1998). Japan's Favorite Mon-Star: The Unauthorized Biography of the Big G. ECW Press. ISBN1-55022-348-8.
• Van Hise, James (1993). Hot Blooded Dinosaur Movies. Pioneer Books Inc.
• Vaz, Mark Cotta (2005). Living Dangerously: The Adventures of Merian C. Cooper, Creator of King Kong. Villard. ISBN1-4000-6276-4.

External links[edit]

• The 1933 film King Kong on IMDb
• The 2005 remake King Kong on IMDb

King Kong is a 1976 American monster film produced by Dino De Laurentiis and directed by John Guillermin. It is a remake of the 1933 film of the same name about a giant ape that is captured and imported to New York City for exhibition. Featuring special effects by Carlo Rambaldi, it stars Jeff Bridges, Charles Grodin and Jessica Lange in her first film role.

The film was the seventh highest-grossing film of 1976. It won the Academy Award for Best Visual Effects and was also nominated for Best Cinematography and Best Sound. Of the three King Kong films, it is the only one to feature the World Trade Center instead of the Empire State Building. A sequel titled King Kong Lives was released in 1986.

• 3Production
• 6Reception
• 7Distribution

Plot[edit]

In 1976, Fred Wilson, an executive of the Petrox Oil Company, forms an expedition based on infrared imagery which reveals a previously undiscovered Indian Ocean island hidden by a permanent cloud bank. Wilson believes that the island holds vast untapped deposits of oil, a potential fortune which he is determined to secure for Petrox. Unknown to Wilson or the crew, Jack Prescott, a primate paleontologist who wants to see the island for himself, has stowed away on the expedition's vessel, the Petrox Explorer. Prescott reveals himself when he warns the crew that the cloud bank may be caused by some unknown, and potentially dangerous, phenomenon. Wilson orders Prescott locked up, believing him to be a corporate spy from a rival oil company. While being escorted to lock-up, Prescott spots a life raft which, upon inspection, is found to be carrying the beautiful and unconscious Dwan. After conducting a thorough background check on the 'spy', Wilson realizes that he is telling the truth and appoints Prescott as the expedition's official photographer, requesting that, due to his medical training, he be present when Dwan revives. When she does regain consciousness, Dwan states that she is an aspiring actress who was aboard a director's yacht, which suddenly and inexplicably exploded.

When the Petrox Explorer arrives at the island, the team discovers a primitive tribe of natives who live within the confines of a gigantic wall. The tribal chief shows an immediate interest in the blonde Dwan, offering to trade several of the native women for her, an offer firmly rejected by Jack. The team then learn that while the island does indeed contain large deposits of oil, it is of such low quality that it is unusable. Later that night, the natives secretly board the ship and kidnap Dwan, drugging her and offering her as a sacrifice to a giant ape known as Kong. Kong frees Dwan from the stronghold and retreats into the depths of the island.

Although an awesome and terrifying sight, the soft-hearted Kong quickly becomes infatuated by Dwan, whose rambling monologue both calms and fascinates the monstrous beast, taming his baser, more violent instincts. After Dwan falls into mud, Kong takes her back to a waterfall to wash her and dry her with great gusts of his warm breath.

In the meantime, Jack and First Mate Carnahan lead several crew members on a rescue mission to save Dwan. The search party encounters Kong while crossing a log bridge. Enraged by the intrusion into his territory, Kong rolls the huge log, sending Carnahan and all but one of the team plummeting to their deaths; Jack and Crewman Boan are the only ones to survive. While Boan returns to the village to alert the others at Jack's insistence, Jack presses on looking for Dwan. Kong takes Dwan to his lair. As he starts to undress her, a giant snake appears and attacks them. While the distracted Kong is fighting the snake, Jack arrives and rescues Dwan. After killing the snake, Kong chases them back to the native village. Smashing down the huge gates, he falls into a pit trap that Wilson and the crew have dug, where he is overcome by chloroform.

After learning that the oil cannot be refined, Wilson has instead decided to salvage the expedition by transporting the captive Kong to America as a promotional gimmick for Petrox. When they reach New York City, Kong is put on display, bound in chains with a large cage around his body from the neck down and a large crown on his head. When Kong sees a group of reporters pushing and shoving Dwan for interviews, the ape, believing that Dwan is being harmed, breaks free of his bonds. A stampede ensues as panic engulfs the throng, with people crushed and trampled as Kong strides through the crowd. Wilson, trying to flee, loses his footing and is crushed underfoot by Kong.

Jack and Dwan flee across the Queensboro Bridge to Manhattan and take refuge in an abandoned bar, where Jack notices a similarity between the Manhattan skyline (notably the Twin Towers of the World Trade Center) and the mountainous terrain of Kong's island. He runs downstairs to call the mayor's office and agrees to tell them on the condition that Kong is captured alive. When the mayor's office agrees, Jack tells them to let Kong climb to the top of the World Trade Center. Before Jack can return, Kong, using his keen sense of smell, discovers Dwan and snatches her from the bar, then makes his way to the World Trade Center with Jack and the National Guard in pursuit.

Kong climbs to the roof of the South Tower of the World Trade Center, where he is attacked by soldiers armed with flamethrowers. Kong manages to evade them with a spectacular leap across to the roof of the North Tower. He rips pieces of equipment from the roof and throws them at the soldiers, killing them when he throws a tank of flammable material. Ignoring Jack's earlier request for safe, live capture, military helicopters are sent in to kill Kong (most likely since Petrox is facing major indictment). After ensuring Dwan's safety, Kong fights the attacking helicopters, downing one of them. Dwan desperately pleads for the military to break off their assault, but the pilots continue attacking. The relentless hail of bullets finally brings down Kong. As Dwan approaches Kong and puts out her hand to touch him, he rolls over the edge of the roof, crashing to the plaza hundreds of feet below. Dwan rushes down to comfort him and tearfully watches him take his last breath. An enormous crowd gathers around Dwan and the giant ape's body. Jack fights his way through the crowd to get to Dwan, but is stopped short by police as she is surrounded by journalists and paparazzi, despite her cries to him.

Cast[edit]

• Jeff Bridges as Jack Prescott
• Jessica Lange as Dwan
• Charles Grodin as Fred S. Wilson
• John Randolph as Captain Ross
• René Auberjonois as Roy Bagley
• Ed Lauter as First Mate Carnahan
• Julius Harris as Crewman Boan
• Jack O'Halloran as Joe Perko
• Dennis Fimple as Sunfish
• Jorge Moreno as Garcia
• Mario Gallo as Timmons
• John Lone as Chinese Cook
• John Agar as City Official
• Sid Conrad as Petrox Chairman
• Keny Long as Ape Masked Man
• Garry Walberg as Army General
• George Whiteman as Army Helicopter Pilot
• Wayne Heffley as Air Force Colonel
• Rick Baker as King Kong (suit performance, uncredited)^[4]

Production[edit]

There are two different accounts for how the remake for King Kong came about. In December 1974, Michael Eisner, then an executive for ABC, watched the original film on television and struck on the idea for a remake. He pitched the idea to Barry Diller, the chairman and CEO of Paramount Pictures, who then enlisted veteran producer Dino De Laurentiis to work on the project. However, De Laurentiis claimed the idea to remake King Kong was solely his own when he saw a Kong poster in his daughter's bedroom as he woke her up every morning. When Diller suggested doing a monster film with him, De Laurentiis proposed the idea to remake King Kong.^[5] Diller and De Laurentiis provisionally agreed that Paramount would pay half of the film's proposed $12 million budget in return for the distribution rights in the United States and Canada if the former could purchase the film rights of the original film.^[6]

De Laurentiis later contacted his friend Thomas F. O'Neil, president of General Tire and RKO-General, who informed him that the film rights were indeed available. Later, De Laurentiis and company executive Frederic Sidewater entered formal negotiations with Daniel O'Shea, a semi-retired attorney for RKO-General, who requested a percentage of the film's gross. On May 6, 1975, De Laurentiis paid RKO-General $200,000 plus a percentage of the film's gross.^[7] After finalizing the agreement with Paramount, De Laurentiis and Sidewater began meeting with foreign distributors and set the film's release for Christmas 1976.^[8]

Writing[edit]

—Lorenzo Semple, Jr. on writing King Kong^[9]

After moving his production company to Beverly Hills, De Laurentiis first met with screenwriter Lorenzo Semple, Jr., who at the time was writing Three Days of the Condor. Impressed with his work on the film, De Laurentiis contacted Semple about writing King Kong, in which Semple immediately signed on. During their collaboration on the project, De Laurentiis already had two ideas in mind—that the film would set in present day and the climax would set on top of the newly constructed World Trade Center.^[10]

Because of the risen sophistication in audiences' tastes since the original film, Semple sought to maintain a realistic tone, but infuse the script with a sly, ironic sense of humor that the audiences could laugh at. Having settled on the mood, Semple retained the basic plotline and set pieces from the original film, but updated and reworked other elements of the story. Inspired by the then-ongoing energy crisis and a suggestion from his friend Jerry Brick, Semple changed the expedition to being mounted by Petrox Corporation, a giant petroleum conglomerate whom suspected that Kong's island has unrefined oil reserves. In its original story outline, Petrox would discover Kong's island from a map hidden in the secret archives at the Vatican Library.^[11]

In a notable departure from the original film, Semple dropped the dinosaurs that are present with Kong on the island. The reasons for the dropped subplot was due to the increased attention on Kong and Dwan's love story and financial reasons as De Laurentiis did not want to use stop-motion animation in the film. Nevertheless, a giant snake was incorporated into the film.^[11]

A fast writer, Semple completed a forty-page outline within a few days and delivered it in August 1975. While De Laurentiis was pleased with Semple's outline, he expressed displeasure with the Vatican Library subplot, which was immediately dropped. It would later be replaced with Petrox discovering the island through obtained classified photos taken by a United States spy satellite.^[12] Within a month, the 140-page first draft incorporated the character of Dwan (who according to the script was originally named Dawn until she switched the two middle letters to make it more memorable), the updated rendition of Ann Darrow from the 1933 film. For its second draft, the script was reduced to 110 pages.^[13] The final draft was completed by December 1975.^[14]

Casting[edit]

Meryl Streep has said that she was considered for the role of Dwan, but was deemed too unattractive by producer Dino De Laurentiis.^[15] Dwan was also proposed to Barbra Streisand but she turned it down.^[16] The role eventually went to Jessica Lange,^[17] then a New York fashion model with no prior acting experience.^[18]

Filming[edit]

De Laurentiis first approached Roman Polanski to direct the picture,^[19] but he wasn't interested. De Laurentiis's next choice was director John Guillermin who had just finished directing The Towering Inferno.^[12] Guillermin, who was known to have had outbursts from time to time on the set, got into a public shouting match with executive producer Federico De Laurentiis (son of producer Dino De Laurentiis). After the incident, De Laurentiis was reported to have threatened to fire Guillermin if he did not start treating the cast and crew better.^[20]Rick Baker, who designed and wore the ape suit in collaboration with Carlo Rambaldi, was extremely disappointed in the final suit, which he felt was not at all convincing.^[21] He gives all the credit for its passable appearance to cinematographer Richard H. Kline. The only time that the collaboration of Baker and Rambaldi went smoothly was during the design of the mechanical Kong mask. Baker's design and Rambaldi's cable work combined to give Kong's face a wide range of expression that was responsible for much of the film's emotional impact. Baker gave much of the credit for its effectiveness to Rambaldi and his mechanics.

To film the scene where the Petrox Explorer finds Dwan in the life raft, Jessica Lange spent hours in a rubber raft in the freezing cold, drenched and wearing only a slinky black dress. Although Lange was not aware of it, there were sharks circling the raft the entire time. Shooting of this scene took place in the channel between Los Angeles and Catalina Island during the last week in January 1976.

Name se le size info time 2 1 44.9 GB 2 2 years ago 5 1 63.7 GB 5 2 years ago 2 3 18.8 GB 2 2 years ago 2 5 41.7 GB 2 2 years ago 3 1 19.6 GB 3 2 years ago 5 3 17.8 GB 5 2 years ago 6 5 36.0 GB 6 2 years ago 3 4 6.4 GB 3 2 years ago 11 5 6.5 GB 11 2 years ago 11 5 5.6 GB 11 2 years ago 6 4 5.0 GB 6 2 years ago 11 0 5.6 GB 11 2 years ago 0 1 29.9 GB 0 2 years ago 1 1 21.4 GB 1 2 years ago 1 0 434.7 MB 1 4 years ago 0 0 386.1 MB 0 4 years ago 0 0 582.1 MB 0 4 years ago 0 0 733.6 MB 0 4 years ago 1 0 551.9 MB 1 4 years ago 1 0 588.0 MB 1 4 years ago. E pura sorte download torrent.

On one of the nights of filming Kong's death at the World Trade Center, over 30,000 people showed up at the site to be extras for the scene. Although the crowd was well behaved, the Port Authority of New York & New Jersey (owner of the World Trade Center complex) became concerned that the weight of so many people would cause the plaza to collapse, and ordered the producers to shut down the filming. However, the film makers had already got the shot they wanted of the large crowd rushing toward Kong's body. They returned to the site days later to finish filming the scene, with a much smaller crowd of paid extras.^[22]

According to Bahrenburg, five different masks were created by Carlo Rambaldi to convey various emotions.^[23] Separate masks were necessary as there were too many cables and mechanics required for all the expressions to fit in one single mask.^[24] To complete the look of a gorilla, Baker wore contact lenses so his eyes would resemble those of a gorilla.^[23]

Rambaldi's mechanical Kong was 40 ft (12.2 m) tall and weighed 61/2 tons.^[25] It cost £500,000 to create.^[26] Despite months of preparation, the final device proved to be impossible to operate convincingly, and is only seen in a series of brief shots totaling less than 15 seconds.

The roar used for Kong was taken from the film The Lost World (1960).

Music[edit]

The film's score was composed and conducted by John Barry. A soundtrack album of highlights from the score was released in 1976 by Reprise Records on LP.^[27] This album was released on CD, first as a bootleg by the Italian label Mask in 1998,^[27] and then as a legitimate, licensed release by Film Score Monthly in 2005. On October 2, 2012, Film Score Monthly released the complete score on a two-disc set; the first disc features the remastered complete score, while the second disc contains the remastered original album, along with alternate takes of various cues.^[28]

2012 Film Score Monthly Album

Controversy[edit]

Before Michael Eisner pitched the idea of a remake of King Kong to Barry Diller, he had earlier mentioned the idea to Sidney Sheinberg, the CEO and president of MCA/Universal Pictures. Shortly after, Universal decided to purchase the property as an opportunity to showcase its new sound system technology, Sensurround, which debuted with the disaster film, Earthquake for Kong's roars. On April 5, 1975, Daniel O'Shea, a semi-attorney for RKO-General, had arranged meetings with Arnold Stane, attorney for MCA/Universal, and De Laurentiis and Sidewater for the film rights to King Kong; neither side knew that a rival studio were in negotiation. With a bargain price set $150,000, Stane had negotiated an offer of $200,000 plus 5 percent of the film's net profit. In contrast, De Laurentiis had offered $200,000 plus 3 percent of the film's gross—and 10 percent if the film recouped two and a half its negative cost. In May 1975, the film rights were granted to De Laurentiis.^[5]

In the wake of the agreement, Shane claimed that O'Shea had verbally accepted Universal's offer although no official paperwork was signed. O'Shea contested, 'I did not make any agreement written or oral .. never told him we had an agreement, nor words to that effect .. never told him that I had the authority .. I am not an employee, agent, or officer at RKO.'^[5] A few days later, Universal filed suit against De Laurentiis and RKO-General in Los Angeles Superior Court for $25 million on charges of breach of contract, fraud, and intentional interference with advantageous business relations. In October 1975, Universal, which was in pre-production with their own remake with Hunt Stromberg, Jr., as producer and Joseph Sargent as director, filed suit in a federal district court arguing that the story's 'basic ingredients' were public domain.^[7] Univeral had claimed that their remake was based on the two-part serialization by Edgar Wallace and a novelization by Delos W. Lovelace adapted from the screenplay that had been published shortly before the film's release in 1933.^[5]

On November 12, 1975, Universal announced it would start production on The Legend of King Kong on January 5, 1976 with Bo Goldman writing the screenplay based on the novelization by Lovelace.^[29] On November 20, RKO-General countersued Universal for $5 million alleging that The Legend of King Kong was an infringement on their copyright, and asked the court to prevent any 'announcements, representations, and statements' on their proposed film. On December 4, De Laurentiis countersued for $90 million with charges of copyright infringement and 'unfair competition'.^[30] In January 1976, both studios agreed to withdraw their legal suits filed against each other. Universal agreed to cancel The Legend of King Kong, but intended to proceed with a remake sometime in the future although on the condition to release it eighteen months after De Laurentiis's remake.^[31][32] In September 1976, a federal judge ruled in favor of Universal that Lovelace's novelization had fallen into public domain which cleared the studio to produce a remake.^[33]

Reception[edit]

Box office[edit]

King Kong was commercially successful, earning Paramount Pictures back over triple its budget. The film ended up at fifth place on Variety's chart of the top domestic (U.S.) moneymakers of 1977. (The film was released in December 1976 and therefore earned the majority of its money during the early part of 1977.) The film made just over $90 million worldwide on a $24 million budget.^[34]

Critical response[edit]

After months of publicity before its release, the film received mostly mixed responses from critics, especially from admirers of the original King Kong. However, it did obtain positive reviews from some prominent critics. Pauline Kael from The New Yorker praised the film, noting 'The movie is a romantic adventure fantasy-colossal, silly, touching, a marvellous [sic] Classics Comics movie (and for the whole family). This new Kong doesn't have the magical primeval imagery of the first King Kong, in 1933, and it doesn't have the Gustave Doré fable atmosphere, but it's a happier, livelier entertainment. The first Kong was a stunt film that was trying to awe you, and its lewd underlay had a carnival hucksterism that made you feel a little queasy. This new Kong isn't a horror movie-it's an absurdist love story.'^[35]Richard Schickel from Time wrote that 'The special effects are marvelous, the good-humored script is comic-bookish without being excessively campy, and there are two excellent performances' from Charles Grodin and Jeff Bridges.^[36]Variety wrote that 'Faithful in substantial degree not only to the letter but also the spirit of the 1933 classic for RKO, this $22 million-plus version neatly balances superb special effects with solid dramatic credibility.'^[37]Vincent Canby, reviewing for The New York Times, claimed the movie was 'inoffensive, uncomplicated fun, as well as a dazzling display of what special-effects people can do when commissioned to construct a 40-foot-tall ape who can walk, make fondling gestures, and smiles a lot.' However, he was critical of the use of the World Trade Center instead of the Empire State Building during the climax, but he praised the performances by Bridges and Grodin and the special effects creation of Kong.^[38]Charles Champlin of the Los Angeles Times called it 'a spectacular film' that 'for all its monumental scale retains the essential, sincere and simple charm of the beauty and the beast story.'^[39]Gene Siskel of the Chicago Tribune had a mixed reaction, giving the film two-and-a-half stars out of four as he wrote, 'The original 'Kong' took itself seriously; and so, even now, 43 years later, do we. But the kidding around in the new film, though frequently amusing, knocks down the myth its special effects staff has so earnestly tried to build.'^[40]Jonathan Rosenbaum of The Monthly Film Bulletin wrote that the remake 'moves along reasonably well as a half-jokey, half-serious contemporary 'reading' of its predecessor; as an accomplishment in horror and fantasy adventure, it does not measure up to even the small toe of the original.'^[41]

The movie's success helped launch the career of Jessica Lange, although she reportedly received some negative publicity regarding her debut performance that, according to film reviewer Marshall Fine, 'almost destroyed her career'.^[42] Although Lange won the Golden Globe Award for Best Acting Debut in a Motion Picture - Female for Kong, she did not appear in another film for three years and spent that time training intensively in acting.^[43]

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Critical responses to King Kong continue to be mixed. On the review aggregator website Rotten Tomatoes, the film has an approval rating of 53% based on 36 reviews with an average rating of 4.8/10. The critical consensus reads that 'King Kong represents a significant visual upgrade over the original, but falls short of its classic predecessor in virtually every other respect.'^[44]

Awards[edit]

The film received three Academy Award nominations and won one.

• WinnerBest Visual Effects (Carlo Rambaldi, Glen Robinson and Frank Van der Veer), shared with Logan's Run (1976).^[45]
• NomineeBest Cinematography (Richard H. Kline)
• NomineeBest Sound (Harry W. Tetrick, William McCaughey, Aaron Rochin and Jack Solomon).^[46]

Distribution[edit]

Extended television version[edit]

King Kong found new and sustained life on television. NBC bought the rights to air the movie and it was a ratings success. NBC paid De Laurentiis $19.5 million for the rights to two showings over five years, the highest amount any network had ever paid for a film at that time.When King Kong made its network television debut on NBC in 1978, a number of scenes deleted from the theatrical version were reinstated to make the film longer. This version also features several changes to the John Barry score, including entirely alternate cues for places that no music existed for in the theatrical version, as well as several different edits of cues.

Home media[edit]

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Momentum Pictures released a Region 2 DVD of this film in 2001 with a photo gallery and a theatrical trailer. Optimum Releasing has confirmed a new re-release of this film on Region 2 with deleted scenes and the theatrical trailer from the previous issue. There are only two deleted scenes on the DVD. The first is an extended scene of the brawl between Kong and the giant snake and the second is the demise of Wilson at the New York unveiling of Kong. The film has been released on Blu-ray in Region B territories, although this disc is region-free and can work in any Blu-ray machine.^[47] To date, the only DVD appearance of this extra footage from the TV version is in the form of five deleted/extended scenes on the Region 2 release.

References[edit]

Notes

1. ^'King Kong (1976)'. Box Office Mojo. IMDb. boxofficemojo.com. Retrieved 2012-08-31.
2. ^ ^abDe Laurentiis PRODUCER'S PICTURE DARKENS: KNOEDELSEDER, WILLIAM K, Jr. Los Angeles Times 30 Aug 1987: 1.
3. ^'King Kong, Box Office Information'. The Numbers. Retrieved January 17, 2012.
4. ^Lambie, Ryan (March 10, 2017). 'The Struggles of King Kong '76'. Den of Geek. Retrieved March 28, 2017.
5. ^ ^abcdTobias, Andrew (February 23, 1976). 'The Battle for King Kong'. New York. Vol. 9 no. 8. pp. 38–44. ISSN0028-7369. Retrieved July 30, 2018.
6. ^Morton 2005, p. 150.
7. ^ ^abChamplin, Charles (November 5, 1975). 'A Ding-Dong King Kong Battle'(Subscription required). Los Angeles Times. Retrieved July 30, 2018 – via Newspapers.com.
8. ^Morton 2005, p. 151.
9. ^Swires, Steve (October 1983). 'Lorenzo Semple, Jr. The Screenwriter Fans Love to Hate - Part 2'. No. 75. Starlog. pp. 45–47, 54. Retrieved May 28, 2014.
10. ^Morton 2005, p. 152.
11. ^ ^abMorton 2005, p. 153.
12. ^ ^abMorton 2005, pp. 154–5.
13. ^Morton 2005, p. 155–6.
14. ^Morton 2005, p. 160.
15. ^'Meryl Streep's worst audition'. The Graham Norton Show. Series 16. Episode 13. 2015-01-09. BBC.
16. ^Medved, Michael, and Harry Medved. The Golden Turkey Awards. 1980, Putnam. ISBN0-399-50463-X.
17. ^Manders, Hayden (11 November 2015). 'This Meryl Streep Mic Drop Is Too Good To Be True'. Nylon. Archived from the original on 12 November 2015. Retrieved 12 November 2015.
18. ^Scott, Vernon (January 20, 1976). 'King Kong Is Coming Back with International Flavor'. United Press International. Fort Lauderdale News. Retrieved August 2, 2018 – via Newspapers.com.
19. ^Bahrenburg 1976, p. 19.
20. ^Morton 2005, p. 93.
21. ^Morton 2005, p. 209.
22. ^Bahrenburg 1976, pp. 218–28.
23. ^ ^abBahrenburg 1976, p. 177.
24. ^Bahrenburg 1976, pp. 176–77.
25. ^Bahrenburg 1976, p. 204.
26. ^Foley, Charles (July 12, 2014). 'From the Observer archive 11 July 1976: King Kong dogged by costly mishaps'. The Guardian. ISSN0261-3077. Retrieved January 27, 2017.
27. ^ ^ab'King Kong- Soundtrack details - SoundtrackCollector.com'. www.soundtrackcollector.com.
28. ^'King Kong: The Deluxe Edition (2-CD)'. Film Score Monthly. Retrieved October 20, 2012.
29. ^Murphy, Mary (November 12, 1975). 'Anjelica's Visage Wins Role'(Subscription required). Los Angeles Times. Retrieved July 31, 2018 – via Newspapers.com.
30. ^Morton 2005, p. 162.
31. ^'Producers Settle Dispute on 'King Kong' Remakes'(Subscription required). Los Angeles Times. January 30, 1976. Retrieved August 1, 2018 – via Newspapers.com.
32. ^Morton 2005, p. 166.
33. ^'Kong Goes Public'(Subscription required). The Atlanta Constitution. September 16, 1976. Retrieved August 2, 2018 – via Newspapers.com.
34. ^'Business Data for King Kong'. Internet Movie Database. Retrieved 2007-07-17.
35. ^Kael, Pauline. 'King Kong Reviews'. GeoCities. Retrieved August 23, 2018.
36. ^Schickel, Richard (December 27, 1976). 'The Greening of Old King'. Time. Retrieved May 24, 2007.
37. ^'King Kong'. Variety. Archived from the original on 2007-10-23. Retrieved August 23, 2018.
38. ^Canby, Vincent (December 18, 1976). ''King Kong' Bigger, Not Better, In a Return to Screen of Crime'. The New York Times. Retrieved August 23, 2018.
39. ^Champlin, Charles (December 12, 1976). 'A Smashing 'King Kong II'. Los Angeles Times Calendar, p. 1, 114.
40. ^Siskel, Gene (December 17, 1976). 'Original 'Kong' still king, but this one's good for laughs'. Chicago Tribune. Section 2, p. 1.
41. ^Rosenbaum, Jonathan (February 1977). 'King Kong'. The Monthly Film Bulletin. 44 (517): 25.
42. ^Fine, Marshall. 'Editorial Reviews'. Amazon.com. Retrieved 2007-05-24.
43. ^'Jessica Lange'. Jessica Lange Fansite. Archived from the original on 2007-06-08. Retrieved 2007-05-24.
44. ^'King Kong (1976)'. Rotten Tomatoes. Retrieved July 30, 2018.
45. ^'The 49th Academy Awards (1977)'. oscars.org. Retrieved 2011-10-04.
46. ^'The 49th Academy Awards (1977) Nominees and Winners'. oscars.org. Retrieved 2011-10-03.
47. ^[1]

Watch King Kong 1976 Movie

Bibliography[edit]

• Bahrenburg, Bruce (1976). The Creation of Dino De Laurentiis' King Kong. New York: Pocket Books. ISBN978-0671807962.
• Morton, Ray (2005). King Kong: The History of a Movie Icon from Fay Wray to Peter Jackson. New York: Applause Theatre & Cinema Books. ISBN978-1557836694. OCLC61261236.

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External links[edit]

King Kong 1976 Movie Download

• King Kong on IMDb
• King Kong at the TCM Movie Database
• King Kong at AllMovie
• King Kong at Box Office Mojo
• King Kong at Rotten Tomatoes