Cheap King Kong (2-Disc Special Edition) (DVD) (Robert Armstrong, Fay Wray) (Ernest B. Schoedsack) Price

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Customer Reviews of King Kong (2-Disc Special Edition)

The GRANDDADDY OF ALL FANTASY FILMS
For many years, I scoffed at the original "King Kong" because of its stereotypical depiction of people of color. I had never actually seen the movie in its entirety, thinking that it was a "relic" from an earlier age that belonged in a museum. Of course, I have always been a fan of stop-motion animation, preferring it to the current CGI-based school of filmmaking. And, the original "Kong" is a landmark film in regards to stop-motion puppetry. <
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>Thus, I had to abandon my preconceived notions and look at this film with a more open viewpoint. <
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>And, I am glad that I've broadened my thinking. <
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>This double-disc set is a treasure for lovers of film, fantasy, and moviemakers that really love what they do. It is no wonder that "Lord of the Rings" Oscar-winner Peter Jackson was influenced by the film and chose to do a remake. The film sports big sets, an outstanding score from one of filmdom's greats, Max Steiner, and then-state-of-the-art special effects, created specifically for the film inasmuch as it was, arguably, the first of its kind: an epic of fantasy storytelling. <
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>Stars Robert Montgomery, Bruce Cabot, and Fay Wray - who will become a legend due to her famous "leading ape" - equate themselves well in this tale of a really, BIG ape. Though the acting is somewhat dated, befitting the film's seventy-year age, the script is so well written that one can overlook the occasional hamminess and histrionics by the leading lady. <
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>Considering the film's age, it is rather violent and "Kong" is an equal-opportunity destroyer, eliminating dinosaurs, natives, sailors, subway passengers, and a unfortunate woman that he mistook for Ann Darrow (Wray). <
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>Filmmakers Merian Cooper and Ernest B. Schoedsack pulled no punches and did indeed make a film that has stood the test of time, influencing a bevy of younger moviemakers, including John Landis, Joe Dante, and the aforementioned Jackson, all who, along with others, offer informative commentary on the second disc's two documentaries. Also, the film has encouraged me to seek out two silent films, produced by the same pair: "Chang" and "Grass." <
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>Legendary stop motion animator Ray Harryhausen, he, too, influenced by the film, offers tribute to the movie's director of special effects, Willis O'Brien. O'Brien would later supervise effects on the "Kong" sequel, "Son of Kong" and "Mighty Joe Young," on which Harryhausen aided in the creation of the effects. <
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>Speaking of O'Brien, storyboards are presented of the animator's abandoned film "Creation". This story combined elements of Verne, Wells, Stevenson, and would have made an intriguing story. Many of the concepts in that story would find themselves used in "King Kong." In fact, Jackson may have considered this story, as opposed to remaking Kong for a second time. <
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>But, that's another story. <
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>Jackson's remake, like Dino di Laurentis's 1977 version, has some mighty big shoes to fill! <
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The 900-pound gorilla of monster movies
At last, the first--and best--of the classic B/W monster movies has been transferred to DVD. But not just transferred. Warner's restoration is excellent, and with this new print we learn a number of interesting things: <
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>- It turns out that Fay Wray and Robert Armstrong are brother and sister. <
>- Kong now has a friend named Biggs. <
>- When the airplanes confront Kong at the top of the Empire State Building, Kong shoots first. <
>- Jar-Jar has been added to Skull Island. <
>- The hunters' rifles have been replaced by walkie-talkies. <
>- A scene has been added that shows them bringing Kong into New York. When asked for ID, Carl Denham says, "You don't need to see his identification. This isn't the gorilla you're looking for." <
>- The last line has been changed from "Beauty killed the beast" to "Kong was your father!" <
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>Okay, okay, I'm kidding. Fortunately, George Lucas and Steven Spielberg had nothing to do with this release. The present restoration really is excellent, though, for a 70+ year-old film. They found this print in England, where, despite their own censorship board that required a "certificate of approval" to be placed at the start of every movie, they still didn't feel it necessary to cut out scenes that American censors snipped when the film was rereleased in 1938. (There was no Hollywood censorship board when the film originally came out in 1933.) The scenes cut were Kong peeling Fay Wray like a banana and sniffing her naughty bits, Kong stomping on natives, Kong biting natives' heads off, and Kong tossing a woman who was not Fay out her New York apartment window to her death. All were deemed too violent, or, in the case of peeling Ms. Wray's clothes, they felt there was too much monkey business going on. <
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>But all the scenes are back in this new print (actually they had been restored years ago, but they're in better condition here than ever before). There's also commentary by special effects whiz Ray Harryhausen (I didn't know he was still alive, to tell you the truth) and Ken Ralston, with additional comments here and there from producer Merion C. Cooper and, of course, Kong's squeeze, Fay Wray. I would have liked more commentary from Wray and Cooper and less from Harryhausen and Ralston, but what can you do? <
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>Disc two is mainly two documentary features, a look at the rough and tumble life of producer Merian C. Cooper and a lengthy look at the making of Kong. The story of Cooper is probably the most eye-opening item on this DVD. There was so much about the man I didn't know, and I have to confess I had no idea he did so much, both on and off the screen. He's really one of the great Americans, yet you rarely hear his name mentioned today for anything other than King Kong. Funny how one thing can eclipse everything else you do. Cooper was such a war hero that he was actually allowed on the battleship Missouri for the signing of the treaty ending WWII hostilities. And in WWI, he was shot down, captured by enemies, and nearly died--twice! Cooper obviously modeled swashbuckler character Carl Denham on himself (even physically), just as love interest Jack Driscoll was modeled after the film's other producer, Ernest B. Schoedsack. <
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>The second documentary is largely the work of Peter Jackson, who is currently finishing up his remake of King Kong. Jackson truly is the Kong fanatic. He is not only remaking the film, he also reconstructed and reshot the famed "Lost Spider Pit Sequence" for this original film. Using two still photos, numerous production sketches and a shot-by-shot script, Jackson and pals reenacted the scene on a small soundstage and then, using authentic 1930s technology, stop-motioned in the spiders and other creatures. They then degraded the film with computers to match the quality of the 1933 print and spliced it in. (After the premiere Cooper cut the spider scene out, feeling it slowed the picture and was too shocking in its own right.) Jackson's work is shown in a roughly ten-minute excerpt on disc two. (The actual movie on disc one is spider-free.) While I appreciate the effort and the attention to detail, I'm somehow underwhelmed, though it's hard to say exactly why. Despite all the frenetic action, Jackson doesn't direct with the rawness of the original--the spider scene was supposed to be the most horrifying moment in the film, yet the scenes where Kong munches on the natives pack more punch. Also, the stop-motion animation of the sailors on the rock looks more like Ray Harryhausen than Willis O'Brien. (I was slightly underwhelmed even when I first stumbled on this extra and played it without knowing it was a recreation--at first I thought they'd *really* found the spider pit sequence!) Although Jackson dominates the second documentary, there are also sections on Max Steiner, who wrote the very effective score, Murray Spivack, who recorded the impressive sound effects (Spivack himself voiced Kong's soft "grunts") and others who contributed to the film. I wish they would have revealed how much the film actually cost and talked more about how the history of RKO and how the studio had everything riding on this picture. Instead we get, in my opinion, a little too much screen time with today's Kongophiles talking about how this movie profoundly changed their lives. (They get a little over the top after a while. One also wants to buy Peter Jackson a comb, or maybe just take him to a barber.) <
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>There's also a second, separate track of the Jackson spider footage--redundant since it's also on an isolated track inside the second documentary. Finally there's the original test footage for Creation, with commentary from Harryhausen again. Creation is the project O'Brien was working on before Kong. Cooper and Executive producer David O. Selznick liked Obie's work but were not impressed with the story behind Creation, so they scuttled the project, and O'Brien was brought in to do Kong instead. <
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>As for the movie itself...well, I'm not bothering with a review, because anyone who's reading this has already surely seen Kong a million times over the years. But one has to ask, why all the interest in a creaky, 72-year-old film? How is Kong relevant today, as anything more than ancient cinema history? In some ways the film is a product of its time, with stilted dialogue, hokey setups, and some horrible stereotypes, against both Africans (or "natives" as they would say in the film) and women, who do little here except faint. But in other ways the picture was light-years ahead of its time. The thorough and seamless use of every special technique then possible (many of them invented for the film itself), the wall-to-wall music filled with leitmotifs for every character and exotic locale, the chases, the narrow escapes, the aerial battles at the end, the clean, three-act screenplay, the strong sense of atmosphere, the quick pacing, the superb production design, the advanced sound effects, the mythological or fairy-tale elements, the whole awesome spectacle of it all--does this remind you of some other ground-breaking film you probably grew up with? One that takes place a long time ago in a galaxy far far away? Many of the techniques that have made Lucas and Spielberg incredibly rich were pioneered with Kong, and conceptually, if not necessarily in scene-for-scene execution, King Kong is as "modern" as any film today. Amazingly so. <
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>Just has Kong came in two heights--about 15 feet on Skull Island and 25+ feet in New York City, King Kong the DVD is available in two sizes. The standard release is the double-DVD set in the usual cardboard packaging. The "Collector's Edition" contains the same two discs in said packaging, plus miniature reproductions of Kong movie posters (plus an offer to get a free full-sized one suitable for framing), and a reproduction of the original Grauman's Chinese Theater premiere booklet (interestingly, the booklet talks about the spider pit sequence that would subsequently be cut), all inside a larger, metal hinged case. This larger case may not fit on all DVD shelves--but that's only appropriate for such a big movie about such a big ape.

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KONG! 8th Wonder of the World!
I grew up watching this great classic and every single time had the same thrills over and over again, this one truly withstands the test of time, fascinating me just as much at 57 as it did at eight years old. <
>When Armstrong first encounters a down-on-her-luck Wray, he offers her this magical job without revealing his true intent, and onboard the ship, he has her practice screaming in front of the camera, which moves one of the crew to ask: "What does he really expect her to see?" Chilling, foreboding moment... <
>The journey to Skull Island on the ship really gets you worked up for the entry onto the island itself and the encounter with the Natives, the various monsters behind the great gate (used in the burning of Atlanta in GWTW) and finally, Kong himself. <
>Robert Armstrong delivers the movie's sole humorous line when the Native Chief is taken with Fay Wray and wants to trade livestock for her, Armstrong says "Yes, I guess blondes are kinda scarce around here." <
>Once they get past the gate and into the jungle, things take off in a hurry. The trip by boat to another part of the island has one of the (still, to this day) scariest moments I have ever seen in any movie of the genre; a water monster that is truly terrifying. When I was a child, this monster really scared me witless. <
>Eventually Fay Wray, what's left of the crew and Kong are delivered safely back to New York and it is at that point my fear of Kong changed to one of pity. The poor guy, taken out of his home, to a foreign environment, treated like a sideshow freak and placed in iron restraints, it was really awful to see. When, at the end, he is on the top of the Empire State Building, fighting off the airplanes, and loses the battle, I cried. <
>And Armstrong's last line, the perfect summation of Kong's trials: "It wasn't the airplanes, it was beauty killed the beast." <
>GREAT movie, and fascinating to note Fay Wray only died last year! Born in 1907 and starred in one of the most famous films of all time...amazing. <
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