My day job is centered at the Empire State Building, so I think about this movie literally every single day, but I’m thinking about it today because it went into wide release way back on this date, April 7th, in 1933. Can you even imagine being a kid in 1933 and seeing this movie for the first time?!? Here’s what I said about it back when I force-elected its star one of the ten best movie characters of all time:
On Skull Island, he was a king. In New York City, he was just another guy brought low by love. This may make me sound crazy, but I strongly believe there’s a case for KING KONG as the great American film. If you, as I do, are convinced that the story of America is one driven by race and by sex, then KING KONG has it all over CASABLANCA, CITIZEN KANE, or VERTIGO as far as tangible cultural relevance. The racial and sexual subtext of KING KONG is barely subtext at all, perhaps uncomfortably. Perhaps that kind of subtext should be uncomfortable. Is the subtext here outright racist? I’ve thought about it a lot, and I’m still not even sure. In this particular country, with our history, it’d be irresponsible not to consider it. That reading of the film might depend upon one’s reading of the title character, though. How are we supposed to view King Kong? Unlike Godzilla, King Kong isn’t exactly a hero. As the Godzilla films progressed, it became more clear Godzilla was here to protect Earth, not just to stomp on Tokyo. (That’s one thing 2014’s GODZILLA got right for sure.)
King Kong, by contrast, is more of a basic-cable anti-hero. He’s a merciless killer, if you’re a Tyrannosaurus Rex or a military biplane pilot or just an adventurer with a gun, but he’s great at it, and here in America we forgive a lot from a character who’s good at his job. Besides that, King Kong is infatuated with the blond ingenue Ann Darrow (Fay Wray), and America does enjoy a good crazy-in-love story too. King Kong’s cataclysmic talent for violence makes him awesome — in the textbook definition, not the colloquial — and his infatuation with the pretty lady makes him human. So to answer the question, I think we’re supposed to find King Kong to be pretty rad, despite how many guys he tosses off a log bridge, and that’s what makes the movie complicated and fascinating. But that’s a conclusion that’s sort of unnecessary to intellectualize — I could have told you King Kong was awesome (in the colloquial sense) when I was eight. That I’m saying the same thing thirty years later doesn’t mean I haven’t grown up at all — it means I’ve grown up with the movie, and that it continues to give me plenty to think about and to dream about.
— Jon Abrams.
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Tags: Airplanes, Apes, Bruce Cabot, Dinosaurs, Ernest B. Schoedsack, Fay Wray, king kong, Max Steiner, Merian C. Cooper, New York City, Noble Johnson, Robert Armstrong, Stop-Motion Animation, The Empire State Building, Willis O’Brien