His offers were declined because of the unconventional nature of the script – it seemed no one wanted to risk their careers. In the movie, the character named Denham (who plays a notorious film-maker) fails to find a star actress to accept the role of the leading lady. Also, the constant depiction of violence in the film and the popular acclaim that it received might have swayed the decision of members of the Academy (Stringer, p.409). Since there was no separate “Special Effects” department during the 1930s, this coveted recognition evaded King Kong. The category where it would have swept all prizes was “Special Effects”. In spite of such revolutionary innovations, King Kong did not receive even a single Academy Award nomination. For example, rear projection, dummy miniature models of characters, and other cameral tricks that were adopted during the making of this film were to become standard procedures in the film industry. The one aspect of King Kong that saw much innovation was its cinematography.
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But King Kong managed to out-score this movie in financial returns (Vaz, p.73). By the way, “The Most Dangerous Game” was itself a big success. When constrained by the low budget, Merian Cooper and Edgar Wallace decided to re-use the set built for the making of “The Most Dangerous Game” the previous year. For example, the shooting was scheduled in such a way that the benign climatic conditions of spring and summer seasons could be used for maximum advantage. Due to some foresight, planning and efficient use of available resources, the film-makers were able to produce this masterpiece. So the budget for King Kong was kept to the bare minimum. The RKO Studio, which produced the film in 1933, was in a tight corner financially.
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The screenplay by James Creelman and Ruth Rose was full of brilliance as well (Vaz, p.73). In hindsight, their success in overcoming these inundated challenges had contributed immensely to the film industry world-wide. The transition from factual documentary making to adventure-horror-fantasy must have been challenging for both these men. Both Merian Cooper’s and Ernest Schoedsack’s previous work experiences included documenting apes in their natural habitat. The realistic portrayal of an ape-like monster can be attributed to the film-makers’ backgrounds. Some critics point out that King Kong has semblances to the classic fable “Beauty and the Beast” (McGowan-Hartmann, 2006). The Last World depicted prehistoric life of dinosaurs. All these movies except the last one expanded on the “Apes in Jungles” theme. Some such movies leading up to King Kong would be “Jazz Monkey”, “Chang”, Monkey Stuff”, “Prohibition Monkey”, and of course “The last world”. Although King Kong is rightfully regarded as a ground-breaking film, it did follow a trend of films that involved monstrous beasts. Given that the Hollywood in 1925 was in a stage of technological nascence, adds merit to O’Brien’s work.