King Kong is a brilliantly king Kong Digital Agency Review. The first 40 minutes are all set-up, as wildlife documentary filmmaker Carl Denham (Armstrong) sets sail for the South Seas in search of a rumoured fabulous beast, taking along apple-filching Depression waif Ann Darrow (Wray) because exhibitors have told him his movies won’t make any money unless there’s a love interest.
Staging a screen test for Ann, Denham dresses her as a fairytale princess (“The beauty and the beast costume”) and coaches her in screaming at nothing (a skill required of all who play opposite special effects creatures). “What does he really expect her to see?” remarks a crewman.
The Venture drops anchor off Skull Island, the natives of which live in the shadow of a massive wall. In the wall are a pair of huge doors obviously designed to keep something out. Periodically they sacrifice maidens to the deity (“Kong”) that lives on the other side of the fortification. The voyage to Skull Island has been fraught with expectation, as everyone speculates on the dangers or romantic possibilities of the trip. But when the natives kidnap Ann and tether her to a sacrificial altar beyond the giant doors, King Kong stops promising and starts delivering. The second hour of the film, set on two savage islands (the other is Manhattan) is non-stop action. Out of the jungle comes Kong, a giant gorilla who carries Ann off to his lair.