Ann Darrow | King Kong Wiki | Fandom powered by Wikia [Source] Ann Darrow was a fictional character from the 1933 movie King Kong and its 2005 remake , with whom the giant ape Kong falls in love. In the original film, Ann is played by Fay Wray ; in the 2005 remake, she is played by Naomi Watts ; in an unauthorized 1998 animated musical film, The Mighty Kong , she is voiced by Jodi Benson. The 1976 remake features an analogous character named " Dwan " (played by Jessica Lange ), in the Melbourne stage production in Australia, she is played by Esther Hannaford. The character of Ann Darrow never appears in any other films or television productions of King Kong, yet has been seen in the King Kong Comic books. Contents Edit Ann Darrow is played by Naomi Watts in the 2005 film and has more detail. She was an actress, but lost that job when her studio went bankrupt in the Great Depression.

Ann was apparently destitute, as she was shoplifting fruit and caught, but bailed out by Denham, who came to her rescue by paying for the fruit and telling her of his grand plans in film. She also declined Denham's invitation at first, but she then accepted the offer when she was told that Jack Driscoll was going along too. Jack also develops a crush on Ann and even kiss each other before arriving at Skull Island. Ann originally thought that the sound editor of Carl's film crew, Mike, was Jack. After seeing Mike die in front of her, Ann screams with horror. She was able to escape at first from the hostile natives at Skull Island, but was kidnapped from the boat and dragged to a sacrificial chamber in her bare feet and pajamas, where she is offered as a sacrifice to Kong by the natives. Kong takes her as Ann screams at the top of her lungs. She faints as Kong vanishes into the forest. Kong roars as Ann moans as she freaks out. Kong almost drops her as Ann shrieks and yells. She stabs Kong with her skull necklace as she falls onto the pile of skulls.

She attempts to escape but Kong grabs her, causing her to shriek. Jack and Carl try to find her along with many other crewmembers. Ann is heard screaming. She woke up the next day, she saw Kong distracted by eating Bamboo sticks. she tried to escape but Kong stopped her. she was then treated like a Rag Doll because King Kong at first was either angry or curious about Ann, enjoyed her dancing and acting, and kept pushing her, making him happy and hooting. When Ann shown anger at him, he also got angry and Kong left her. At the time she escaped, she was unfortunate again because Vastosaurus Rexes wanted to eat her, and Kong saved her life. Ann ambushed by the creatures of Skull Island That night Jack comes to Kong's lair, and disturbs him from his slumber, then a swarm of flying Terapus mordax attacks them.

Kong ends up battling the giant bats, the attack resulted in Ann losing her dressing gown for unknown reasons (but it most likely her shirt was torn off by one of the Terapus mordax, this forced Ann to continue the journey wearing her pink slip dress only), Kong puts Ann in safety while he battles the giant bats, As Kong fights the swarm of Terapus mordax, Ann and Jack escape by grabbing the wing of one of the bats and then jumping into a river. They arrive at the village wall, with the angry Kong following them. When Carl and the other crew men were done with their own problems in the island with most of them dead, they captured and kidnapped King Kong. Captain Englehorn was about to kill King Kong with a sharp harpoon but she begged and cried out to let Kong live. but they succesfully captured Kong, Ann simply stared at Kong before she broke down in tears due to have been unable to help kong from getting captured, Carl takes Kong to New York, and he escapes in an angry mood destroying the ampitheater he was taken to. Ann Darrow realized she was the only person who can stop King Kong from trying to destroy Manhattan.

Kong was already looking for Ann because he kept picking up women who resembled Ann. Ann and Kong finally are happy together but their happiness and joy vanishes when the military uses giant bullets to kill King Kong. King Kong, like in the 1933 film, ran away to highest building in the city, the Empire State Building. Ann with Kong on the Empire State Building When the two are trapped atop the skyscraper at the climax, she tries desperately to prevent Kong from being killed, much like Dwan in the 1976 version, but to no avail. After Kong's death, she embraces Jack Driscoll, who was trying to get to her the entire time. Edit Ann is portrayes in both the 1933 film and 2005 remake as a down on her luck actress, who has lost her job and has resorted to stealing. Both incarnations are portrayed as having a fragile personality, except with the 2005 version being a lot more braver than her 1933 counterpart. In the 1933 film, Ann is terrified of Kong, and does not seem to share his affection toward her.

She constantly screams in his presence and in the presence of other monsters, fulfilling a kind of 'damsel in distress' type of role. She doesn't care much for Kong, and constantly tries to avoid him. In the 2005 remake, Ann has a massive shift in character. She is of course initially terrified of the horrors of Skull Island, but shows great courage when in the face of danger. She is afraid of Kong at first, but manages to briefly escape his clutches by first entertaining him and then standing up to him. Later in the film, when Kong saves her from two Vastosaurus Rex, she realises that Kong doesn't wish to hurt her and comes to care for him. In the films climax, she shows great distress and sorrow when Kong falls to his death from the top of the Empire State Building, after going to great lengths to try and save him from the attacking US Army. In both films, the character falls in love with Jack Driscoll, with the two even preparing to marry in the 1933 version. Appearance Edit In the 1993 film, she is wearing a long white dress. She has blonde hair, and screams a lot.

Later in the film, the top side bit of her dress is ripped off, revealing a silver bra. Some critics thought this was too much nudity. 2005 film Edit Anne here wore a grey coat which got very dirty after being harassed by dinosaurs and picked up by Kong, she loses her coat when Kong is attacked by giant bats revealing her pink sleeveless shirt underneath, later at the end of the movie, she wears an white dress. She has curly, blonde hair that stops at her shoulders, bright blue eyes, fair skin, a slender figure and a bright smile. 1933 film Screencaps King Kong Movie Review & Film Summary (1933) | Roger Ebert Tweet On good days I consider " Citizen Kane " the seminal film of the sound era, but on bad days it is "King Kong." That is not to say I dislike "King Kong," which, in this age of technical perfection, uses its very naivete to generate a kind of creepy awe. It's simply to observe that this low-rent monster movie, and not the psychological puzzle of "Kane," pointed the way toward the current era of special effects, science fiction, cataclysmic destruction, and nonstop shocks.

"King Kong" is the father of " Jurassic Park ," the " Alien " movies and countless other stories in which heroes are terrified by skillful special effects. A movie like "Silence of the Lambs," which finds its evil in a man's personality, seems humanistic by contrast. Advertisement I've seen "King Kong" (1933) many times, most memorably in its re-release in the 1950s, when it did indeed scare me. In recent years I have focused on the remarkable special effects, based by Willis O'Brien and others on his f/x work in "The Lost World" (1925) but achieving a sophistication and beauty that eclipsed anything that went before. The movie plunders every trick in the book to create its illusions, using live action, back projection, stop-motion animation, miniatures, models, matte paintings and sleight-of-hand. And it is not stingy with the effects; after a half-hour of lumbering dialogue and hammy acting, the movie introduces Kong and rarely cuts away from sequences requiring one kind of trickery or another. But "King Kong" is more than a technical achievement.

It is also a curiously touching fable in which the beast is seen, not as a monster of destruction, but as a creature that in its own way wants to do the right thing. Unlike the extraterrestrial spiders in the "Alien" pictures, which embody single-minded aggression, Kong cares for his captive human female, protects her, attacks only when provoked, and would be perfectly happy to be left alone on his Pacific Island. It is the greed of a Hollywood showman that unleashes Kong's rage, and anyone who thinks to exhibit the beast on a New York stage in front of a live audience deserves what he gets--indeed, more than he gets. The movie was directed by Merian C. Cooper and Ernest Scheodsack, and produced by them with the legendary David O. Selznick , then head of RKO Radio Pictures. Selznick took little credit for the film, saying his key contribution was to put O'Brien's f/x techniques together with Cooper and Schoedsack's story ideas. Advertisement Although it has the scope and feel of an expensive epic, "Kong" had a relatively moderate budget of about $600,000.

Sequences that would take weeks these days--such as when Kong shakes a log to dislodge the men clinging to it--were done in two days, and the giant wall that separates the island villagers from the monster was a set originally built as the Temple of Jerusalem for Cecil B. DeMille's "King of Kings" (1927). Although Fay Wray had been in movies since 1923 and was a B-list star, her leading man, Bruce Cabot , was appearing in his first picture after having been spotted by Cooper as the doorman in a Hollywood club. The story is not sophisticated. A movie director (Robert Armstrong) hires a ship, recruits his leading lady from off the streets of New York at the last moment, and sails for a mysterious Pacific island he heard about in Singapore. The island contains a legendary giant ape, which he hopes to use as the star of his movie. Fay Wray plays Ann Darrow, Kong's co-star, and Cabot is the sailor who falls in love with her and saves her from Kong.

Modern viewers will shift uneasily in their seats during the stereotyping of the islanders in a scene where a bride is to be sacrificed to Kong (it is rare to see a coconut brassiere in a non-comedy), but from the moment Kong appears on the screen the movie essentially never stops for breath. In an astonishing outpouring of creative energy, O'Brien and his collaborators (including RKO's legendary visual effects artist Linwood Dunn and sound man Murray Spivack) show Kong in battle with two dinosaurs, a giant snake, a flying reptile and a Tyrannosaurus rex. Later, in New York, he will climb to the top of the Empire State Building and bat down a biplane with his bare hand. Advertisement The visual techniques are explained by film historian Ron Haver, whose commentary track on the 1985 Criterion laser disc was one of the first ever recorded. He is amusing in describing how some live-action scenes were miniaturized to make the Kong model look larger; searching for the right screen to project them on, the filmmakers hit on a screen made of condoms, to the consternation of a nearby druggist who could not understand their orders for a gross at a time.

Haver also observes how Kong's fur seems to crawl during several scenes; the model was covered with rabbit fur, and the fingers of the stop-action animators disturbed it between every stop-action shot. The effect, explained by the filmmakers as "muscles rippling," is oddly effective. (When a DVD of "King Kong" is finally issued, Turner Pictures would be wise to recycle the Haver commentary.) From the moment of its making, "King Kong" fell under the censors' scissors. Cooper himself removed one notorious sequence after the world premiere: The men shaken from the log fell into a chasm where they were devoured by giant spiders, but the effect “stopped the picture in its tracks,” people walked out, and Cooper cut it. Another scene was taken out after the Motion Picture Code came into being. It shows Kong curiously removing some of Wray's clothes, tickling her, and sniffing his fingers. Closeups of humans being crunched between Kong's jaws were also cut for various versions, but now the movie is intact again--except for the spiders. How terrifying was it, really?

Variety's original 1933 review conceded that "after the audience becomes used to the machinelike movements and other mechanical flaws in the gigantic animals on view, and become accustomed to the phony atmosphere, they may commence to feel the power." The showbiz Bible Variety complained, however, "it's a film-long screaming session for [Wray], too much for any actress and any audience." Yes, but nobody has ever forgotten that performance. (At a Hollywood party in 1972, I saw Hugh Hefner introduced to Fay Wray. "I loved your movie," he told her. "Which one?" she asked.) Advertisement Variety then and now was hard to impress, but my guess, based upon my first viewing as a teenager, is that audiences found it plenty scary. In modern times the movie has aged, as critic James Berardinelli observes, and "advances in technology and acting have dated aspects of the production." Yes, but in the very artificiality of some of the special effects, there is a creepiness that isn't there in today's slick, flawless, computer-aided images. In "Jurassic Park" you are looking, more or less, at a real dinosaur.

In "King Kong," you are looking at anideaof a dinosaur, created by hand by technicians who are working with their imaginations. When Kong battles the large flesh-eating dinosaur in his first big battle scene, there is a moment when he forces its jaws apart, and the bones crack, and blood drips from the gaping throat, and something immediate happens that is hard to duplicate on any computer. There are of course questions we cannot help asking. Haver asks one: Why did the natives build a door in their wall, so that Kong could come through? Common sense asks another: How tall is Kong, really? (The filmmakers take poetic license: He's 18 feet tall on the island, 24 feet on stage, 50 feet on the Empire State Building.) Even allowing for its slow start, wooden acting and wall-to-wall screaming, there is something ageless and primeval about "King Kong" that still somehow works. Advertisement King Kong (1933) Pages: ( 1 ) ( 2 ) ( 3 ) Background The greatest and most famous classic adventure-fantasy (and part-horror) film of all time is King Kong (1933). Co-producers and directors Merian C.

Cooper and Ernest B. Schoedsack (both real-life adventurers and film documentarians) conceived of the low-budget story of a beautiful, plucky blonde woman (Fay Wray) and a frightening, gigantic, 50 foot ape-monster as a metaphoric re-telling of the archetypal Beauty and the Beast fable. [Fay Wray mistakenly believed that her RKO film co-star, 'the tallest, darkest leading man in Hollywood,' would be Cary Grant rather than the beast. Later in her life, she titled her autobiography "On the Other Hand" in memory of her squirming in Kong's grip.] The major themes of the film include the struggle for survival on the primitive, fog-enshrouded, tropical Skull Island between the ardent and energetic filmmakers (led by Robert Armstrong), the hero (Bruce Cabot in a part originally offered to Joel McCrea), the voodoo natives, and the forces of nature (the unique Beast creature); unrequited love and the frustration and repression of violent sexual desires. However, the primitive, giant ape must also struggle against the forces of urban civilization and technology when it is exploited for profit and returned for display in New York City during a time of economic oppression.

From the start of the picture, its clever screenplay by James Ashmore Creelman and Ruth Rose (based on a story by Merian C. Cooper and Edgar Wallace) suggested the coming terror. The film was shot during the spring and summer of 1932 in the confines of the studio. Due to their limited budget for sets, Cooper and Schoedsack used the jungle locale from the latter's previous film The Most Dangerous Game (1932) - an adventure film that also starred Fay Wray. When released, it broke all previous box-office records. Its massive, money-making success helped to save RKO Studios from bankruptcy.

The following scenes for the 1938 re-release (the film was re-released four times from 1933 to 1952 - in 1938, 1942 and 1946), that were excised by censors after the Production Code took effect in 1934, were restored in more recent editions of the film: the Brontosaurus' killing (biting) of three sailor victims in the swamp (instead of five in the original) Kong's stripping/peeling of Fay Wray's clothing (and sniffing) while holding her unconscious in his palm Kong's killing of natives on a scaffold in the village, and the stomping of a native during the attack Kong's chewing-biting of a New Yorker victim and his drop of a woman from the Empire State Building window after mistaking her for Ann The giant spider-pit sequence was not restored, but lost (during the filming of Peter Jackson's 2005 remake, he recreated the sequence using remaining stills and animations from the original script). This remarkable film received no Academy Awards nominations - it would have won in the Special Effects category if there had been such a category.

The film contained many revolutionary technical innovations for its time (rear projection, miniature models about 18 inches in height, and trick photography, etc.), and some of the most phenomenal stop-motion animation sequences and special effects ever filmed (by chief technician Willis O'Brien, famed for his first feature film The Lost World (1925)). A wildly dramatic musical score by Max Steiner enhanced the action of the story. It was the first feature-length musical score written specifically for a US 'talkie' film, and was the first major Hollywood film to have a thematic score rather than background music, recorded using a 46-piece orchestra. After the score was completed, all of the film's sounds were recorded onto three separate tracks, one each for sound effects, dialogue and music. For the first time in film history, RKO's sound department head Murray Spivak made a groundbreaking sound design decision - he pitched the effects to match the score, so they wouldn't be overwhelming and so they would complement each other.

The film has numerous memorable moments, including Kong's battle with a giant snake in a misty cavern, his struggle against a flying pterodactyl, the screaming beauty (Fay Wray, known as the "Queen of Scream") held captive in Kong's giant clenched palm, and the finale with the defiant Kong atop the Empire State Building while circling aircraft shoot him down. In director John Guillermin's inferior remake King Kong (1976), starring Jessica Lange, the great ape takes his last stand atop one of the towers of the World Trade Center. Many earlier literary works echoed the giant ape or 'lost world' theme, as in Arthur Conan Doyle's The Lost World (1912) and Edgar Rice Burroughs' The Land That Time Forgot (1918). Beasts in the Jungle (1913) and Tarzan of the Apes (1918) with Elmo Lincoln as the title character undoubtedly served as further inspiration. The fake documentary film Ingagi (1930), a successful exploitation film set in the Congo jungle, also must have influenced King Kong's making with its giant gorillas and native women being sacrificied to an 'ape god'.

King Kong launched the "giant beast" or "giant monster" (known as kaiju in Japan) subgenre of science-fiction, inspiring the 1950's atomic mutant creature features and the Japanese giant movie monsters like Godzilla, Gamera, Rodan, etc. Godzilla and King Kong actually faced off in the Japanese film King Kong Vs. Godzilla (1962, Jp.) (aka Godzilla vs. King Kong in Japan).

Various other Kong-related films are summarized in the following list: Son of Kong (1933) The Mighty Kong (1998, animated) Mighty Joe Young (1998) King Kong (2005) [Oscar-winning The Lord of the Rings trilogy director Peter Jackson shot a remake of the classic 1933 film as King Kong (2005), with Jack Black (as Carl Denham), Adrien Brody (as Jack Driscoll), Naomi Watts (as Fay Wray), and Andy Serkis (and CGI) employed for the 25-foot tall monstrous ape.] The Story The film begins with the title card from an Old Arabian Proverb: And the Prophet said, 'And lo, the beast looked upon the face of beauty. And it stayed its hand from killing. And from that day, it was as one dead.' The scene is 1932 at the Hoboken docks in New Jersey during a Depression-era winter.

A dock night watchman is approached and asked about the nearby moored steamer: "Say, is this the moving picture ship?" The watchman confirms that the ship is going on a "crazy" voyage, and knows of the brash reputation of Carl Denham (Robert Armstrong), a fearless and arrogant adventure filmmaker and movie producer, who is preparing for a film expedition: "...that crazy fella that's a runnin' it....They say he ain't scared of nothing. If he wants a picture of a lion, he just goes up to him and tells him to look pleasant." Everybody around the dock is talking about the unusually large cargo and number of crew members - "three times more than the ship needs." The well-dressed man, Charles Weston (Sam Hardy), a theatrical agent, is invited on board the vessel by First Mate Jack (John) Driscoll (Bruce Cabot) and is told: "Come on board. Denham's gettin' wild.

I hope you got some good news for him." In the captain's cabin, trusted skipper-Captain Englehorn (Frank Reicher) confers with Denham and suggests that he sail immediately by the next day's light, before the fire marshal can discover his illegal cargo of ammunition, explosives and gas bombs, one of which is strong enough "to knock out an elephant." They must also get to their destination to finish filming before the monsoon season starts. Weston and Driscoll enter and Denham demands to know if the agent has located an actress to star in his top-secret film: "Somebody's interfered with every girl I've tried to hire. And now all the agents in town have shut down on me. All but you, you know I'm square." Weston believes Denham has a "reputation for recklessness that can't be glossed over." Weston also objects to Denham's secretiveness - not even the skipper and first mate know where they are going.

The agent hasn't found a girl because his conscience won't let him ask a young girl to take on such an unknown project: I can't send a young pretty girl such as you ask on a job like this without telling her what to expect...To go off on a trip for no one knows how long, to some spot you don't even hint at, the only woman on the ship with the toughest mugs I ever looked at. No ingenue actress will commit to a long sea voyage to an unknown destination, with an all-male crew. Denham argues that there's more danger in New York for most women: "Listen, there are dozens of girls in this town tonight that are in more danger than they'll ever see with me." "Yeah, but they know that kind of danger," thick-headed Jack pipes up. Denham complains that he needs to have a heroine in his picture to provide romance and a love interest: Holy Mackerel. Do you think I want to haul a woman around?...Because the Public, bless 'em, must have a pretty face to look at...Well, isn't there any romance or adventure in the world without having a flapper in it?...Makes me sore.

I go out and sweat blood to make a swell picture and then the critics and the exhibitors all say, 'If this picture had love interest it would gross twice as much.' All right. The Public Wants a Girl, and this time, I'm gonna give 'em what they want. Undaunted but frustrated, the entrepreneurial, jungle filmmaker promises them he will make the "greatest picture in the world, something that nobody's ever seen or heard of. They'll have to think up a lot of new adjectives when I come back." He leaves to find a girl for his picture by himself, vowing: "even if I have to marry one." A cab drops him off outside the Woman's Home Mission where women are in a breadline, but he doesn't see any potential prospects. Nearby, he notices a hungry, out-of-work, and broke girl reaching for an apple from a fruit market on the streets of New York. The street vendor catches the girl and threatens to call the police. After paying off the irate proprietor with a buck to rescue her, she swoons into his arms.

When he takes a good look at her, he impulsively decides that she has the kind of beauty that he is looking for - perfect for the starring role in his documentary movie. Denham takes the starving young girl by taxi to a Bowery restaurant, buys her a meal, and over a cup of coffee asks her about herself. She is orphaned with no family, although she says: "I'm supposed to have an uncle someplace." She also worked as a film extra at a studio on Long Island before it closed. She identifies herself as Ann Darrow (Fay Wray) and he enthusiastically offers the down-and-out, destitute woman a job: "I've got a job for you. Costumes on the ship won't fit you. Broadway shops are still open. I can get some clothes for you there." To encourage the beautiful girl to go along, he entices her with a promise of lifting her out of obscurity: It's money and adventure and fame. It's the thrill of a lifetime and a long sea voyage that starts at six o'clock tomorrow morning. Ann hesitates with fear in her voice, fearing that she will be made Denham's mistress: "No wait. I - I don't understand.

You must tell me. I do want the job so, but I can't..." Denham chivalrously reassures her by explaining his position: "Oh, I see. No, you've got me wrong. This is strictly business....Listen, I'm Carl Denham. Ever hear of me?" His fearless, courageous, daredevil reputation is even known by Ann: "Yes. Yes! You make moving pictures in jungles and places." Ann is told that she has been picked to be the leading lady in his new film, and their voyage leaves at 6 am to a place "a long way off." Ann agrees to the voyage, after Denham offers final assurances that sex isn't involved: "I'm on the level. No funny business...Just trust me and keep your chin up." They shake on it. The next day, the all-male crew sets sail on a long six-week journey on the S. S. Venture bound for the South Pacific.

The good-looking and brawny, but disgruntled First Mate Driscoll meets Ann on deck and unpleasantly marks her as "that girl Denham picked up last night." The males on board are angry and distrustful at the prospect of having such a tempting, attractive, and charming woman along on such a dangerous voyage: "I've never been on one with a woman before." Women are a "nuisance" on board ships, according to him. During the voyage, Ann prepares to practice and rehearse a scene for the film director on the deck, "to see which side of my face looks best and all that." Driscoll really believes her life is in jeopardy and is feeling protective of her safety: "This is no place for a girl," he tells her. The First Mate is chauvinistic, but apologetic: "You're all right, but, but, but women, women just can't help being a bother. Made that way, I guess." Denham strolls into their company, and sees Ann fondly petting the ship's pet monkey - a miniature foreshadowing of the regal Beast in the film.

He comments, sardonically: "Beauty and the Beast, eh?" Ann excuses herself to put on one of her costumes for the film test to be directed by Denham. While waiting for Ann to reappear, Driscoll confronts Denham and asks what lies ahead: "When do we find out where we're going?...And you going to tell us what happens when we get there?" Possibly feeling threatened by Driscoll's growing crush on his actress-heroine, Denham suspects that the crew member has been emasculated and gone "soft" and "sappy" over Ann's Beauty. Denham equates the first mate to the Beast in his Hollywood script - already robbed of his virile masculinity due to his concern for Ann's vulnerable presence: Denham: Oh, you have gone soft on her, eh? I've got enough troubles without a love affair to complicate things. Better cut it out, Jack. Driscoll: Love affair! You think I'm gonna fall for any dame? Denham: I've never known it to fail: some big, hard-boiled egg gets a look at a pretty face and bang, he cracks up and goes sappy.

Driscoll: Now who's goin' sappy? Listen, I haven't run out on ya, have I? Denham: No, you're a pretty tough guy, but if Beauty gets you, ya...(He breaks his train of thought and turns away with a self-deprecating smile.) Huh, I'm going right into a theme song here. Driscoll: Say, what are you talkin' about? Denham: It's the idea of my picture. The Beast was a tough guy too. He could lick the world. But when he saw Beauty, she got him. He went soft. He forgot his wisdom and the little fellas licked him. Think it over, Jack. Screen Junkies 5 Best King Kong Movies something here This listing of the 5 best King Kong movies range from 1933 all the way to 2005. There had been seven films featuring this loveable monster. If you're concerned about the two that didn't make the list, don't be. They are on another list. "King Kong" This is the original movie from 1933. Even though the movie is in black and white, it is still worth watching.

Pound for pound, the visual effects are quite stunning considering what was available at the time. Watched with an open mind; it is quite entertaining. Think Fay Wray. "The Son of Kong" Nobody had a clue that the big ape even had a kid until this sequel came out in 1933. This best King Kong movie presents a kinder and gentler Kong. Our new furry friend goes by Little Kong, but hey could have named him Prince Kong. You're okay, but you're not as good as your daddy, Prince. "King Kong" This 1976 remake of the 1933 films stars Jeff Bridges and Jessica Lange . It is actually a pretty good movie. However, many purists and critics don't agree with that. It's hard to blame them, though. This was filmed in color and sometimes something gets lost in translation when movie makers film an original black and white film in color. In black and white, a good director can make good use of shadows to create suspenseful effects. "King Kong Lives" Another movie in the series of King Kong movies, this is the 1986 sequel to the 1976 version.

In the original sequel from 1933, we meet Kong's son. In this one, we get to see Kong court Lady Kong, the hairy woman who has his son. This, of course, all happens after they revive Kong, who supposedly died in the previous movie. Long live the King. This movie made the list because there had to be five. "King Kong" Surprised by the name? This movie, made in 2005, truly is one of the five best King Kong movies. Of all the remakes , it is the best so far. The visual effects are more modern and the filmmakers can do whatever it takes to make our King entertain us. In addition to that, we get to see all kinds of threatening creatures with which Kong must deal with. This is a fun movie and should be on your list, too. Greatest Films of 1933 Dinner at Eight (1933) , 113 minutes, D: George Cukor A star packed classic masterpiece. A Park Avenue snob Mrs. Oliver Jordan (Billie Burke) invited an assortment of guests to come to a formal dinner party, ignoring the ailments of her husband (Lionel Barrymore).

From the time of the invitations to the actual dinner party, vignettes told the story of the invited individuals, including forgotten stage star Carlotta Vance (Marie Dressler), fading matinee idol Larry Renault (John Barrymore), and the battling Packard couple including brassy blonde Kitty (Jean Harlow) and entrepreneur Dan (Wallace Beery). Duck Soup (1933) , 70 minutes, D: Leo McCarey An anarchistic, satirical, zany, anti-war film, one of the Marx Brothers' finest. Mrs. Teasdale (Margaret Dumont), wealthy millionaire supporter of the financially strapped, tiny country of Freedonia, decided to appoint a new president, dictatorial Rufus T. Firefly (Groucho). War clouds threatened almost immediately when Firefly insulted neighboring Sylvania's ambassador Trentino (Louis Calhern). Chicolini (Chico) and Brownie (Harpo) were hired as incompetent spies sent to get war plans. With classic diplomatic blunders, comic combat, terrific one-liners, slapstick gags, and great political humor. Footlight Parade (1933), 104 minutes, D.

Lloyd Bacon One of the three most spectacular musicals in 1933 from Warner Bros. and legendary choreographer Busby Berkeley, alongside 42nd Street (1933) and Gold Diggers of 1933 (1933) - with this entry often considered the best of all three. The film was also notable for its suggestive pre-Hays Code dialogue and scenes. It starred James Cagney in his first, big singing-and-dancing musical role as unemployed yet enterprising Broadway theatrical producer Chester Kent, with Joan Blondell as his loyal secretary Nan Prescott.

Its familiar plot, a backstage tale about putting on a lavish show, revolved around the production of live music numbers (called "prologues") for movie theatres to present before features, to give stage performers work who had been rendered unemployed by the advent of the "talkies." The thin plot was basically an excuse to show off the elaborate and extravagant Berkeley production numbers, especially the three showstoppers at the end of the film: "Honeymoon Hotel," "By a Waterfall" with gorgeous bathing beauties, and "Shanghai Lil" (providing commentary on Paramount's Shanghai Lily character (Marlene Dietrich in Shanghai Express (1932) from the year before)). 42nd Street (1933) , 89 minutes, D: Lloyd Bacon The quintessential backstage musical, a terrific song and dance Busby Berkeley choreographic extravaganza. Berkeley made screen history in this milestone-grandfather of spectacular musicals, with scores of chorus girls, large extravagant musical 'production numbers' and sumptuous art deco sets, surrealistic imagery, optical effects, zoom lenses, escapist musical numbers, fast-paced timing and rhythmic editing, and wise-cracking dialogue.

The lively musical drama chronicled the hard work of a manic, ailing Broadway director Julian Marsh (Warner Baxter) behind the making of a musical comedy - where life (whether as a director or chorus girl) depended upon the success of the opening show. The Warner Bros.' 'putting on a show' film (with two Oscar nominations for Best Picture and Best Sound, with no wins) also featured two fresh new juvenile stars, Ruby Keeler (as a chorus girl) and tenor Dick Powell, and it starred Ginger Rogers as veteran showgirl Anytime Annie. Marsh was putting one last effort into a Broadway musical. But at the last minute right before opening night, it appeared doomed when the leading dancer Dorothy Brock (Bebe Daniels) broke her ankle. The show was saved when inexperienced chorus girl and understudy Peggy Sawyer (Keeler) dream is realized, and she was trained in a marathon rehearsal.

Gold Diggers of 1933 (1933), 96 minutes, D: Mervyn LeRoy Mervyn LeRoy's blockbuster (a remake of the Gold Diggers of Broadway (1929) which itself was a remake of the silent film Gold Diggers (1923) about chorus girls), was a hugely-successful follow-up to Warners' 42nd Street (1933). It was one of choreographer Busby Berkeley's purest fantasies for the Depression Era, with spectacular numbers. The simple plot was the story of a Broadway show and intrigue surrounding its financial backing. It featured a young, coin-clad Ginger Rogers in the opening production number leading a chorus line of showgirls garbed in more gold-coin costumes singing "We're in the Money" (with one verse in Pig Latin). In another scene, Berkeley undressed his pretty chorus girls entirely behind screens, backlighting them so that the audience could see all they had to offer in silhouette. In another romantic scene "The Shadow Waltz," neon-lighted violins formed geometric designs on the screen with girls dressed all in white.

The film ended with the social commentary of the finale's downbeat number: "Remember My Forgotten Man" accompanied by the singing of Joan Blondell - a tribute to unemployed WWI veterans. I'm No Angel (1933) , 87 minutes, D: Wesley Ruggles One of Mae West's funniest films (with lots of double entendres), and one of only two films in which West co-starred with Cary Grant. The star of a carnival side show act was dancer and lion tamer Tira (Mae West). When not performing, she fleeced many of her prospective suitors during numerous dalliances - she pursued playboy Jack Clayton (Cary Grant), but later the spurned Tira sued him for breach of promise. In the hilarious madcap courtroom scene that ended the film, he countered by assembling all her ex-lovers, but then allowed her to win the case. The Invisible Man (1933), 71 minutes, D: James Whale H.G. Wells' novella tale, beautifully executed as a classic, Universal horror thriller.

An obsessed mad scientist Jack Griffin (Claude Rains in his film debut) created a chemical formula compound that made him irreversibly invisible (with spectacular special effects), without any counter-agent. At first, the effects were comedic, but the serum slowly turned him into an insane megalomaniac lusting for power, and he wreaked havoc on a British country village. King Kong (1933) , 100 minutes, D: Merian C. Cooper One of the greatest adventure and monster classics of all time, from RKO. Nature documentary filmmaker Carl Denham (Robert Armstrong) found destitute and beautiful Ann Darrow (Fay Wray) and hired her to join a chartered ship expedition to the mysterious and remote Skull Island. He discovered and captured a giant ape, King Kong (a marvel of stop-motion animation), using Ann as bait. The scenes between the blonde, screaming maiden and Kong bristled with fear and sexual overtones. A terrific scene included Kong's island battle with a Tyrannosaurus. Kong wais transported to New York City and put on display. Tormented by crowds, he escaped and created havoc in the city.

After breaking free, Kong sought out Ann, and took her to the top of the Empire State Building in the thrilling climax. Land Without Bread (1933, Sp.) (aka Las Hurdes, or Terre Sans Pain), 28 minutes, D: Luis Buñuel Filmed as a black and white travelogue with mordant narration. A short, landmark documentary film that was banned from being shown in Spain by the Spanish government from 1933-1936. Its subject matter was troubling - the impoverished conditions of around 6,000 indigent farming inhabitants in the NW coastal region of Spain (near Portugal) known as Las Hurdes, cut off by a massive mountain range. Poverty, lack of hygiene, pestilence, malnutrition of children and contaminated water sources were rampant, as were the crude and primitive houses. Little Women (1933) , 117 minutes, D: George Cukor Regarded as the best and most incomparable of all versions (also in 1949, 1978, and 1994), especially Katharine Hepburn as Jo.

A delightful and faithful screen adaptation of Louisa May Alcott's classic American story of the teenaged March sisters and the sorrows and joys of the New England family. Father March had gone off to fight in the Civil War, so the family was left with four very independent sisters who were all coming of age, including an outstanding Katharine Hepburn as coltish tomboy Jo who wanted to be a writer. Each of the sisters found independence and strength, and some discovered romance. Morning Glory (1933) , 74 minutes, D: Lowell Sherman Adapted from a Zoe Atkins play, and remade by Sidney Lumet as Stage Struck (1958) with Susan Strasberg. A headstrong, starstruck, yet naive small-town girl from New England (Vermont), Eva Lovelace (Katharine Hepburn in her third film) wished to be a stage actress in the big city of New York, to make it big on Broadway. She showed incredible will and determination following disappointments, until she finally got her big break - after being recognized for a drunken Shakespearean soliloquy of the Romeo and Juliet balcony scene delivered at a cocktail party.

She also became involved in a love triangle between Broadway manager Louis Easton (Adolphe Menjou) and playwright Joseph Sheridan (Douglas Fairbanks, Jr.). Whether her quick success would be long-lasting or withering like a "morning glory" remained to be seen. Hepburn's role paralleled her real-life career experience. Notable as the film in which Hepburn won her first Oscar for Best Actress (the first of four career Academy Awards). The Private Life of Henry VIII (1933, UK), 97 minutes, D: Alexander Korda The well-known historical drama (or biopic), the chronicling of the life of the famous 16th century ruler, the eccentric, spoiled, despotic, corpulent, bawdy and much-married King Henry VIII (Charles Laughton), notoriously known for his gluttony scene and frequent beheading of his wives. The film centered on the succession of many wives, with a terrific performance by Elsa Lanchester (Laughton's real-life wife) as Henry's wily fourth wife, Anne of Cleves.

Merle Oberon was on-screen briefly in the opening scene as Henry's second wife, Anne Boleyn, awaiting execution for alleged adultery. Boleyn was executed on the same day as King Henry's third marriage to Boleyn's maid Jane Seymour (Wendy Barrie) (who soon died in childbirth), while Henry already had his sights on Lady Katherine Howard (Binnie Barnes), an opportunist courtesan involved in a private affair with Henry's courtier Thomas Culpeper (Robert Donat). She eventually became his fifth wife. Queen Christina (1933) , 97 minutes, D: Rouben Mamoulian A classic, romantic, ethereal performance by Greta Garbo, in a lavish, well-produced costume-drama story that stretched historical truth - a story about the choice between love or duty. The lovely yet controversial 17th century (bisexual?) queen of Sweden, Queen Christina (Greta Garbo), rather than being forced into the possibility of a political marriage to military hero cousin Prince Charles (Reginald Owen) to give her country an heir to the throne, restlessly escaped the court dressed in a young man's clothes.

She journeyed to a country inn during a snowstorm. She accidentally met and found love with the new Spanish (and Catholic) ambassador to Sweden, Don Antonio de la Prada (John Gilbert, Garbo's silent era leading man and lover). She revealed her true self and had a passionate love affair with him in their shared inn room. She shocked all of Europe by abdicating her throne for love, to follow Don Antonio to Spain. Unfortunately, ambitious and jealous courtier and ex-lover Count Magnus (Ian Keith) destroyed her dream by demonizing her lover. The final image of the film as she sailed away while standing pensively at the bow of the ship is most famous. She Done Him Wrong (1933) , 66 minutes, D: Lowell Sherman A lusty Gay 90s spoof, with lots of clever innuendo, witty and irreverent one-liners, and bold carnality. The film deeply worried censorship officials and helped to speed the enforcement of the Code in the next year. Her main goals were to demolish the double standard, to be sexually frank, and to end prudery on screen.

It was Mae West's star-making, most famous film role as a liberated, racy woman who enjoyed her sexuality. Buxom Mae West portrayed Bowery saloon owner and madame Diamond Lil. She romanced handsome and dashing Salvation Army mission director Captain Cummings (actually an undercover cop (Cary Grant)). Included West's singing of "Frankie and Johnny," "I Wonder Where My Easy Rider's Gone," and "I Like a Man What Takes His Time," and her most famous line of dialogue to the Captain: "Why don't you come up sometime 'n see me? I'm home every evening." Sons of the Desert (1933) , 68 minutes, D: William A. Seiter A classic, hilarious comedy - the funniest full-length feature from Laurel and Hardy. The two boys Stan Laurel (Himself) and Oliver Hardy (Himself) deviously planned to fool their wives by claiming to have gone on a prescribed ocean voyage to Hawaii (to cure Ollie's illness), while instead attending the national convention of their fraternal Sons of the Desert lodge members in Chicago, with mad-cap conventioneer Charley Chase (Himself).

Their plan failed miserably when the ship was reported sunk, and Mrs. Hardy (Busch) and Mrs. Laurel (Christy) discovered the truth, viewing their husbands in the fraternal parade in a movie newsreel. The pair had to explain why they had returned one day ahead of all the other survivors. In revenge, the two wives plotted to test their exposed mates. Zéro de Conduite: Jeunes Diables au Collège (1933, Fr.) (aka Zero For Conduct), 41 minutes, D: Jean Vigo A satirical, semi-autobiographical film with slapstick banned by French censors until after WWII. The main characters were three rebellious students at a repressive French boarding school with authoritarian, corrupt, inept, and oppressive teachers (known as "monitors" or Surveillants), led by a long-bearded, tyrannical midget principal (Delphin). Only one new teacher was amusing - Huguet (Jean Dasté) - mimicking Charlie Chaplin and walking on his hands on his desk during class.

"Zero for Conduct" grades and detention were often awarded to three students in particular: Bruel (Constantin Goldstein-Kehler), Caussat (Louis Lefebvre), and Colin (Gilbert Pruchon), joined by a fourth who proved himself - Tabard (Gerard de Bedarieux). They plotted to destroy the school during its annual Commemoration/Alumni Day celebrations, with a messy, slow-motion feather pillow fight in the dorm, a mock regal Catholic procession, and a liberating finale when the boys pelted teachers with debris from the rooftop (an inspiration for Lindsay Anderson's If... (1968)). King Kong Cast List: Actors and Actresses from King Kong G Options B Comments & Embed 1 Jeff Bridges Iron Man, The Big Lebowski, Tron ; Jessica Lange Tootsie, Big Fish, Cape Fear ; Naomi Watts King Kong, The Ring, Mulholland Drive ; Adrien Brody King Kong, Natural Born Killers, The Pianist ; Ed Lauter True Romance, The Artist, Seabiscuit ; 6 Andy Serkis The Lord of the Rings: The Return of the King, The Lord of the Rings: The ...

; Corbin Bernsen Major League, Kiss Kiss Bang Bang, Major League II ; Rene Auberjonois Batman Forever, The Little Mermaid, MASH ; Thomas Kretschmann King Kong, Captain America: The Winter Soldier, Blade II ; Charles Grodin Rosemary's Baby, Heaven Can Wait, Midnight Run ; Fay Wray King Kong, Murder by Death, Doctor X ; Bruce Cabot King Kong, Cat Ballou, Diamonds Are Forever ; Jamie Bell King Kong, Flags of Our Fathers, Jumper ; 14 Peter Jackson The Lord of the Rings: The Return of the King, The Lord of the Rings: The ... ; John Agar Fort Apache, Sands of Iwo Jima, Chisum ; Noble Johnson King Kong, The Thief of Bagdad, Jungle Book ; Peter Cullen Predator, Gremlins, Transformers ; Colin Hanks King Kong, Tenacious D in The Pick of Destiny, That Thing You Do! ; John Randolph National Lampoon's Christmas Vacation, All the President's Men, Heaven Can ...

; Kyle Chandler King Kong, The Wolf of Wall Street, Argo ; Forrest J Ackerman Return of the Living Dead Part II, King Kong, Innocent Blood ; James Flavin King Kong, Laura, Mighty Joe Young ; Frank Reicher King Kong, The Life of Emile Zola, Stage Door ; Evan Parke King Kong, Django Unchained, Captain America: The Winter Soldier ; Dennis Fimple House of 1000 Corpses, Maverick, King Kong ; Julius Harris Live and Let Die, Darkman, Harley Davidson and the Marlboro Man ; Robert Armstrong King Kong, Mighty Joe Young, Son of Kong ; Brent Huff Hot Boyz, King Kong, Final Examination ; John Lone Rush Hour, The Last Emperor, Rush Hour 2 ; Roscoe Ates Gone with the Wind, King Kong, Freaks ; Joe Piscopo Johnny Dangerously, King Kong, Dead Heat ; Craig Hall King Kong, 30 Days of Night, The World's Fastest Indian ; Richard A. Baker King Kong, Men in Black 3, Men in Black II ; Geraldine Brophy King Kong, Underworld: Rise of the Lycans, The Water Horse: Legend of the ...

; David Dennis King Kong, 10^!000 BC, The World Unseen ; Merian C. Cooper King Kong, Grass ; John Sumner King Kong, District 9, The Frighteners ; Ray Buktenica Heat, My Girl, King Kong ; David Pittu King Kong, Men in Black 3, The Spanish Prisoner ; Mark Hadlow King Kong, The Hobbit: The Desolation of Smaug, Meet the Feebles ; Jack O'Halloran Superman, Superman II, Superman II: The Richard Donner Cut ; Mario Gallo Raging Bull, A Woman Under the Influence, King Kong ; Walt Gorney Friday the 13th, Trading Places, Friday the 13th Part 2 ; Sam Hardy King Kong, The Florodora Girl, Song of the West ; Donald F.

Glut The Graduate, King Kong, The Teenage Werewolf ; Bill Johnson The Texas Chainsaw Massacre 2, Talk Radio, Nate and Hayes ; Garry Walberg King Kong, Two-Minute Warning, MacArthur ; Shawn McAllister Absence of Malice, The Hospital, King Kong ; Wayne Heffley Spartacus, Birdman of Alcatraz, King Kong ;

Question: Who played the female lead in the 1933 movie King Kong?
Answer: Fay Wray