|Directed by||John Guillermin|
|Screenplay by||Lorenzo Semple Jr.|
|Produced by||Dino De Laurentiis|
|Starring|| Jeff Bridges |
|Cinematography||Richard H. Kline|
|Edited by||Ralph E. Winters|
|Music by||John Barry|
|Distributed by||Paramount Pictures|
|Box office||$90.6 million|
King Kong is a 1976 American monster adventure film produced by Dino De Laurentiis and directed by John Guillermin. It is a modernized remake of the 1933 film of the same name about a giant ape that is captured and taken 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. It's the 5th entry in the King Kong franchise.
The idea to remake King Kong was conceived by Michael Eisner, who was then an ABC executive, in 1974. He separately proposed the idea to Universal Pictures CEO Sidney Sheinberg and Paramount Pictures CEO Barry Diller. Dino De Laurentiis quickly acquired the film rights from RKO-General and subsequently hired television writer Lorenzo Semple, Jr. to write the script. John Guillermin was hired as director and filming lasted from January to August 1976. Before the film's release, Universal Pictures sued De Laurentiis and RKO-General alleging breach of contract, and attempted to develop their own remake of King Kong. In response, De Laurentiis and RKO-General filed separate countersuits against Universal Pictures, all of which were withdrawn by January 1976.
The film was released on December 17, 1976, to mixed reviews from film critics, but was a box office success. It won a noncompetitive Special Achievement Academy Award for Best Visual Effects, and was also nominated for Best Cinematography and Best Sound. Of the three King Kong main 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.
In the 1970s, 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 the island has a huge deposit of oil. Jack Prescott, a primate paleontologist, sneaks onto the expedition's vessel and attempts to warn the team against traveling to the island, citing an ominous final message about "the roar of the greatest beast" from previous doomed explorers. Wilson orders Prescott locked up, assuming that he is a spy from a rival corporation. Wilson eventually makes Prescott the expedition’s photographer. The ship happens upon a life raft which carries the beautiful and unconscious Dwan. Upon waking, Dwan tells Prescott that she is an aspiring actress who was aboard a director's yacht which suddenly exploded. During the rest of the ship's voyage, Prescott and Dwan become attracted to each other.
Upon arriving at the island, the team discovers a primitive tribe of natives who live within the confines of a gigantic wall, built to protect them from a mysterious god known as Kong. The team finds that while there is a large deposit of oil, it is of such low quality that it is unusable. The natives kidnap Dwan, drug her, and offer her as a sacrifice to Kong. A monumental ape grabs Dwan from the altar and departs back into the jungle.
Although an awesome and terrifying sight, the soft-hearted Kong quickly becomes tamed by Dwan, whose rambling monologue calms and fascinates the monstrous beast. After she falls in the mud, Kong takes Dwan back to a waterfall to wash herself, and then uses great gusts of his warm breath to dry her.
In the meantime, Prescott and First Mate Carnahan lead a rescue mission to save Dwan. The rescue party encounters Kong while crossing a log bridge over a ravine, and Kong rolls the huge log, sending Carnahan and the rest of the sailors falling to their deaths. Prescott and Boan are the only ones to survive. Kong takes Dwan to his lair. A giant snake appears and attacks the pair, and while Kong dispatches the snake, Prescott escapes with Dwan. Kong chases the pair back to the native village, only to fall into a pit trap and be smothered with chloroform.
Without any of the promised new oil, Wilson decides to transport Kong to America as a promotional gimmick for his company. When they finally reach New York City, Kong is put on display in a beauty and the beast farce, bound in chains with a large crown on his head. When Kong sees a group of reporters crowding around Dwan, hoping for interviews, the ape breaks free of his bonds and goes on a rampage throughout the city. In the commotion, Wilson is killed when Kong steps on him. The ape also destroys an elevated train in his search for Dwan. Prescott and Dwan flee across the Queensboro Bridge to Manhattan while Kong pursues them. Prescott calls the military and in return for a promise that Kong will be captured unharmed, he tells them that Kong will climb the World Trade Center, which resembles a mountain on his native island. Kong locates Dwan and takes her; he begins to make his way to the World Trade Center, with Jack and the military in hot pursuit.
In the climax, Kong climbs the South Tower of the World Trade Center.After being attacked by men with flamethrowers while standing on the roof, Kong leaps across to the North Tower. Then he is attacked by military helicopters while Dwan is trying to stop them. The fatally injured Kong falls from the roof to the World Trade Center plaza, where he dies from his injuries. Dwan is bombarded by a sea of photographers. The crowd is so big, though, that Dwan can't even get close to Jack. She stands still and is photographed relentlessly by reporters while Kong lies dead in a pool of blood and broken concrete.
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.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.
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.After finalizing the agreement with Paramount, De Laurentiis and Sidewater began meeting with foreign distributors and set the film's release for Christmas 1976.
We made a very deliberate attempt not to be anything like the original movie in tone or mood. Dino wanted it to be light and amusing, rather than portentous. I don't think the original was meant to be mythic ... The original King Kong is extremely crude. I don't mean it's not wonderful. It was remarkable for its time, but it was a very small back-lot picture. We thought times had changed so much that audiences were more sophisticated. Dino felt we could have more fun with it. We hoped to do sensational things with advanced special effects on a big screen.
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, to 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.
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 which 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.
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 boa constrictor was incorporated into the film.
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.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. The final draft was completed by December 1975.
Meryl Streep has said that she was considered for the role of Dwan, but was deemed too unattractive by producer Dino De Laurentiis.Dwan was also proposed to Barbra Streisand but she turned it down. The role eventually went to Jessica Lange, then a New York fashion model with no prior acting experience.
De Laurentiis first approached Roman Polanski to direct the picture,but he wasn't interested. De Laurentiis's next choice was director John Guillermin who had just finished directing The Towering Inferno . Guillermin had been developing a version of The Hurricane when offered the job of King Kong.
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. [ citation needed ] Baker gave much of the credit for its effectiveness to Rambaldi and his mechanics.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. 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.
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.[ citation needed ] Shooting of this scene took place in the channel between Los Angeles and Catalina Island during the last week in January 1976.
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.
According to Bahrenburg, five different masks were created by Carlo Rambaldi to convey various emotions.Separate masks were necessary, as there were too many cables and mechanics required for all the expressions to fit in one single mask. To complete the look of a gorilla, Baker wore contact lenses so his eyes would resemble those of a gorilla.
Rambaldi's mechanical Kong was 40 ft (12.2 m) tall and weighed 61/2 tons. It cost £500,000 to create. 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).[ citation needed ]
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.This album was reissued on CD, first as a bootleg by the Italian label Mask in 1998, 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.
King Kong found new and sustained life on television when NBC bought the rights to air the movie and it was a ratings success. They paid De Laurentiis $19.5 million for the rights to two showings over five years, which was the highest amount any network had ever paid for a film at that time. When King Kong made its television debut over two nights in September 1978, around 45 minutes of extra footage was inserted to make the film longer, and it had some added or replaced music cues.Additionally, in order to obtain a lower, family-friendly TV rating, overtly violent or sexual scenes in the theatrical version were trimmed down or replaced with less explicit takes, and all swearing or potentially offensive language was removed. Further extended broadcasts followed in November 1980 and March 1983.
The theatrical version of the film has been released numerous times worldwide on all known home video formats. Of the DVDs, only a few European editions feature any notable extras; these include a 2005 "Making Kong" featurette (22:20) and up to 10 deleted scenes from the extended TV version (16:10).
The original DVD cover showed Kong atop the World Trade Center surrounded by aircraft. Following the September 11 attacks, Paramount Home Video voluntarily recalled all retail DVD copies, and was later reissued with a different cover.[ citation needed ]
On May 11, 2021, the movie was released to Blu-ray in the United States and Canada courtesy of Shout! Factory-owned brand Scream Factory. The release includes both the theatrical and extended TV cuts.
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. and Canada) 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 opened in 1,500 theaters worldwide and grossed $26 million within ten days. In the United States, King Kong opened at number one at the box office grossing $7,023,921 in its opening weekend which was Paramount's biggest opening weekend at that time, and set the record for a December opening. The film went on to gross $52 million in the United States and Canada, and just over $90 million worldwide. It was the fourth-highest-grossing film of 1976 domestically, and the third-highest-grossing film of 1976 worldwide.
Pauline Kael from The New Yorker praised the film, noting the "movie is a romantic adventure fantasy—colossal, silly, touching, a marvelous 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."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 Kong. Arthur D. Murphy of Variety wrote that the film is "one of the most successful remakes in the brief (but remake-blotched) history of motion pictures. Faithful in substantial degree not only to the letter but also the spirit of the 1933 classic for RKO, this new version neatly balances superb special effects with solid dramatic credibility."
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.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." 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." 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."
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".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.
Critical responses to King Kong continue to be mixed. On the review aggregator website Rotten Tomatoes, the film has an approval rating of 52% based on 46 reviews with an average rating of 4.9/10. 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."Metacritic, another aggregator, sampled 11 critcs and calculated a weighted average score of 61 out of 100, indicating "generally favorable reviews".
The film received three Academy Award nominations and won one.
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 Inc./Universal Pictures. A short time later, Universal decided to purchase the property as an opportunity to showcase its new sound system technology, Sensurround, which had debuted with the disaster film Earthquake , for Kong's roars. On April 5, 1975, Daniel O'Shea, a semi-retired 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 was also negotiating with RKO-General. Stane had negotiated for Universal an offer of $200,000 plus 5 percent of the film's net profit. In contrast, De Laurentiis 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.
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."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 its 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. Universal had claimed that its 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.
Universal started production on The Legend of King Kong on January 5, 1976, with Bo Goldman writing the screenplay based on the novelization by Lovelace.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". 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 on the condition that it release at least eighteen months after De Laurentiis's remake. 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. Universal later produced a remake, also titled King Kong , in 2005.
King Kong is a 1933 American pre-Code adventure fantasy horror monster film directed and produced by Merian C. Cooper and Ernest B. Schoedsack. The screenplay by James Ashmore Creelman and Ruth Rose was developed from an idea conceived by Cooper and Edgar Wallace. It stars Fay Wray, Robert Armstrong and Bruce Cabot, and tells the story of a giant ape dubbed Kong who attempts to possess a beautiful young woman. It features stop-motion animation by Willis O'Brien and a music score by Max Steiner. It is the first entry in the King Kong franchise.
Agostino "Dino" De Laurentiis was an Italian-American film producer. Along with Carlo Ponti, he was one of the producers who brought Italian cinema to the international scene at the end of World War II. He produced or co-produced more than 500 films, of which 38 were nominated for Academy Awards. He also had a brief acting career in the late 1930s and early 1940s.
King Kong is a 2005 epic adventure monster film co-written, produced, and directed by Peter Jackson. It is the eighth entry in the King Kong franchise and the second remake of the 1933 film of the same title, following the 1976 film. The film stars Andy Serkis, Naomi Watts, Jack Black, and Adrien Brody. Set in 1933, it follows the story of an ambitious filmmaker who coerces his cast and hired ship crew to travel to mysterious Skull Island. There, they encounter prehistoric creatures and a legendary giant gorilla known as Kong, whom they capture and take to New York City.
Conan the Destroyer is a 1984 American epic sword and sorcery film directed by Richard Fleischer from a screenplay by Stanley Mann and a story by Roy Thomas and Gerry Conway. Based on the character Conan the Barbarian created by Robert E. Howard, it is the sequel to Conan the Barbarian (1982). The film stars Arnold Schwarzenegger and Mako reprising their roles as Conan and Akiro, the Wizard of the Mounds, respectively. The cast also includes Grace Jones, Wilt Chamberlain, Tracey Walter, and Olivia d'Abo.
King Kong is a fictional giant monster resembling a gorilla, who has appeared in various media since 1933. He has been dubbed The Eighth Wonder of the World, a phrase commonly used within the films. His first appearance was in the novelization of the 1933 film King Kong from RKO Pictures, with the film premiering a little over two months later. Upon its initial release and subsequent re-releases, the film received universal acclaim. A sequel quickly followed that same year with The Son of Kong, featuring Little Kong. Toho produced King Kong vs. Godzilla (1962) featuring a giant Kong battling Toho's Godzilla and King Kong Escapes (1967), a film loosely based on Rankin/Bass' The King Kong Show (1966-1969). 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.
Silver Bullet is a 1985 American horror thriller film based on the 1983 Stephen King novella Cycle of the Werewolf. It stars Corey Haim, Gary Busey, Everett McGill, Megan Follows, Terry O'Quinn, Lawrence Tierney, Bill Smitrovich, Kent Broadhurst, David Hart, and James Gammon. The film is directed by Dan Attias, written by King and produced by Martha De Laurentiis. The film is now considered a cult classic.
Sheena, also known as Sheena: Queen of the Jungle, is a 1984 superhero film based on a comic-book character that first appeared in the late 1930s, Sheena, Queen of the Jungle.
King Kong Lives is a 1986 American monster adventure film directed by John Guillermin. Produced by De Laurentiis Entertainment Group and featuring special effects by Carlo Rambaldi, the film stars Linda Hamilton and Brian Kerwin. The film is a sequel to the 1976 remake of King Kong.
Flash Gordon is a 1980 space opera film directed by Mike Hodges, based on the King Features comic strip of the same name created by Alex Raymond. The film stars Sam J. Jones, Melody Anderson, Ornella Muti, Max von Sydow and Topol, with Timothy Dalton, Mariangela Melato, Brian Blessed and Peter Wyngarde in supporting roles. The film follows star quarterback Flash Gordon (Jones) and his allies Dale Arden (Anderson) and Hans Zarkov (Topol) as they unite the warring factions of the planet Mongo against the oppression of Ming the Merciless, who is intent on destroying Earth.
Universal City Studios, Inc. v. Nintendo Co., Ltd. was a 1984 legal case heard by the United States District Court for the Southern District of New York by Judge Robert W. Sweet. In their complaint, Universal Studios alleged that Nintendo's video game Donkey Kong was a trademark infringement of King Kong, the plot and characters of which Universal claimed as their own. Nintendo argued that Universal had themselves proven that King Kong's plot and characters were in the public domain in Universal City Studios, Inc. v. RKO General, Inc.
Queen Kong is a 1976 British-German adventure comedy film parodying King Kong. The film was never released theatrically in the United Kingdom, due to legal action by Dino De Laurentiis, producer of the 1976 King Kong remake and RKO, the copyright holder of King Kong at the time. It got a limited release in Italy and Germany. The film has since resurfaced on DVD.
Lorenzo Elliott Semple III was an American screenwriter and sometime playwright, best known for his work on the campy television series Batman, and received writing credit on the political/espionage films The Parallax View (1974) and Three Days of the Condor (1975). He was professionally known as Lorenzo Elliott Semple Jr.
De Laurentiis Entertainment Group (DEG) was an entertainment production company and distribution studio founded by Italian producer Dino De Laurentiis. The company is notable for producing Manhunter, Blue Velvet, the horror films Near Dark and Evil Dead II, King Kong Lives, and Bill & Ted's Excellent Adventure, as well as distributing The Transformers: The Movie.
Hurricane is a 1979 romance and adventure film featuring Mia Farrow and Jason Robards, produced by Dino De Laurentiis with Lorenzo Semple Jr., and directed by Jan Troell. It is a loose remake of John Ford's 1937 film The Hurricane, itself based on the 1936 novel by James Norman Hall and Charles Nordhoff.
King Kong is one of the best-known figures in cinema history. He and the series of films featuring him are frequently referenced in popular culture around the world. King Kong has achieved the stature of a pop-culture icon and modern myth. King Kong has inspired advertisements, cartoons, comic books, films, magazine covers, plays, poetry, political cartoons, short stories, television programmes, and other media. The forms of references to King Kong range from straight copies to parodies and humorous references.
A*P*E, released in South Korea as King Kong's Great Counterattack, is a 1976 monster film. An international co-production between South Korea and the United States, the film was produced by Kukje Movies and the Lee Ming Film Co. and Worldwide Entertainment (U.S.) with 3-D effects. Directed by Paul Leder and featuring special effects by Park Kwang Nam, the film stars Joanna Kerns, Rod Arrants and Alex Nicol. It marked an early film appearance by Kerns, who later moved to TV movies and series.
Honopū Valley is a landmark valley within Nā Pali Coast State Park along the northwest shore of Kauaʻi, Hawaiʻi, United States. It is known for its distinctive natural arch, which at approximately 90 feet (27 m) tall is the tallest in Hawaii. At the lower end of the valley is Honopū's secluded, 0.25-mile (0.40 km) beach, also known as Cathedral Beach.
John Guillermin was a French-British film director, writer and producer who was most active in big budget, action adventure films throughout his lengthy career.
King Kong is an American media franchise featuring King Kong, a character initially created by Merian C. Cooper at RKO Radio Pictures and now owned by Warner Bros., Universal Pictures with more recent films being licensed to Legendary Pictures for production with Warner Bros. handling distribution. Films featuring Kong over the years are currently owned by various studios, including Toho, Paramount Pictures, Universal Pictures, and Warner Bros. The film franchise consists of twelve monster films, including seven Hollywood films, two Japanese kaiju films produced by Toho, and the first three direct-to-video animated films. The first film, King Kong, was directed by Merian C. Cooper and Ernest B. Schoedsack and released by Radio Pictures in 1933 and became an influential classic of the genre. Toho was later inspired to make the original Godzilla after the commercial success of the 1952 re-release of King Kong and the success of The Beast from 20,000 Fathoms (1953). The success of King Kong would go on to inspire other monster films worldwide. The popularity of the films has led to the franchise expanding to other media, such as television, music, literature and video games. King Kong has been one of the most recognizable symbols in American pop culture worldwide and remains a well-known facet of American films. 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. His role in the different narratives varies, ranging from a rampaging monster to a tragic antihero.
Yeti: Giant of the 20th Century is a 1977 Italian-Canadian giant monster film directed by Gianfranco Parolini, co-written by Parolini, Marcello Coscia, and Mario di Nardo, with special effects by Giovanni Cappelli, Nello Cappelli, Giuseppe Carrozza, Beniamino Carrozza, Amerigo Casagrande, Marcello Martinelli, Germano Natali, Augusto Possanza, and Fabio Traversari. In the film, an industrialist's orphaned grandchildren and their collie befriend an awakened Yeti.