King Kong (1933) Movie Analysis Essay Example

King Kong (1933) directed by Merian C. Cooper and Ernest B. Shoedsack distributed by RKO is a tale of colonization, anti-black commentary, and patriotism in early coded Hollywood, its also a genre defining film. The length of the film, the technological advances and revolutionary score. The film surrounds the exploration of a film crew in search of a main attraction – an 18 to 24-foot tall gorilla – to counterpart the young Ann Darrow (played by Fay Wray). Once captured, there is a clear parallel between King Kong and the oppressed black man in an urban city. Kong breaks free causing damage all over New York City and kidnaps Ann taking her to the top of the empire state building. After a stand-off with the United States air force, kong is fatally shot exhibiting the mighty strength of American Justice. The picture is less about a violent gorilla displaced from his natural habitat and more of a tale of the hyper-sexual dangerous black man during the great migration. 

About the film’s directors: 

The film oddly directed by two people, Merian C Cooper and Ernest B Shoedsack, are common collaborators. Merian was known for his work in aviation cinema citing his past experiences as an air force pilot as his inspiration. He has directed films such as King Kong (1933), The Last Days of Pompeii (1933), and additionally over sixty producer credits. His partner in production, Ernest B Shoedsack has directed films such as Dr. Cyclops (1940), The Monkey’s Paw (1933), and The Most Dangerous Game (1932). Ernest was also known as a renowned cinematographer during the evolution of cinema in the early 30s and the establishment of what became coded Hollywood. Ernest started off as a cameraman at a young age, he remained a cameraman for the Signal Corps in France during the second world war, and later on met Merian C Cooper, another filmmaker who was interested in testing the boundaries of film. In addition to the two directors, Willis H O’brien deserves just as much if not more credit for the creation of King Kong. Willis considered an auteur by many in the monster genre has been responsible for monster classics such as The Beast of Hollow Mountain (1956), The Lost World (1925), and The Dinosour and the Missing Link (1915). Willis’s fascination with monsters came from an early interest in dinosaurs and paleontology which went on to influence the creation of his groundbreaking first short film, The Dinosour and the Missing Link. All together, combined with their wide range of interests the three filmmakers responsible for King Kong made one of the most influential films of all time. 

Where to Screen/History of screening location?

It’s important that the screening will be someplace notable, a theater that is known for showing big motion pictures, somewhere that large audiences can fit for over 2 hours. For that reason, after deliberating between The Sunshine Theater and The Ziegfeld Theater, King Kong will be screened at the iconic Ziegfeld ballroom on 54th street and 6th avenue. The Ziegfeld theater, built-in 1927 was home to spectacular broadway productions such as Brigadoon () and Rio Rita () musicals. The iconic theater transitioned into a movie theater in 1969 after the landmarked building was torn down to make space for the Fisher Bros skyscraper. One hundred feet away from the original Ziegfeld broadway theater stood the new Ziegfeld movie theater now a part of the Walter Reade theater chain. The newly constructed theater was the epitome of class with six hundred thousand dollar interiors, times square location, and even orchestra seats, this theater was home to the New York City elites. The theater went through a handful of owners until eventually closing temporarily and undergoing renovations to become the now Ziegfeld ballroom. The rich history behind the cinema house fits perfectly with the rich history of the 1933 film King Kong as both the film and theater have oppressed and separated social and racial classes throughout New York City. Guests of the event will be the usual attendees of Ziegfeld ballroom events, the space will be made a temporary location to screen King Kong in front of the powerful and wealthy consumers. Furthermore, screening King Kong at a large cinema turned ballroom brings in specific audience members who need to see this film and the message this film conveys. Ballrooms in New York and especially in midtown are home to an elite group of people who often disregard the lower and working classes. Screening a powerful film that portrays racism and oppressive attitudes towards marginalized people in their environment might act as a wake-up call towards their everyday lives. 

Who’s the guest for the Q & A? 

For the Q & A, I will be inviting guests speaker Gloria Jean Walkins or known under her pen name, Bell Hooks. Hooks is a respected author who often tackles subjects such as a lack of diversity in feminist film theory and the male gaze through a racial perspective. Her analysis on sexuality and race in film would be a perfect take on King Kong (1933). Referencing her work, “Eating the Other” chapter 2,  “Desire and Resistance”, Hooks mentions the fascination with fascinations with the other in white supremacy, the other being considered in this scenario as marginalized peoples. Hooks take on King Kong and its dangerous narrative could be broken apart and dissected similarly to her work on analyzing sexuality and attraction towards the “other” in reference to race.  

How is the film going to be shown (straight screening or installation)? 

King Kong will be shown as a straight screening accompanied by loud live music. The screening will take place sometime between Thanksgiving and Christmas during Q4 when most people are in the city and attend these types of galas and events. The screening will not be an invite-only event which might serve as a shocker towards the intended audience (upper class members of society) as the screening will take place in a relatively fancy ballroom. The film is meant to be shown in a way that makes the audience uncomfortable with their ancestor’s past actions. This should not be a “fun” experience for the upper-class audience, it should make them reflect on their actions that go against helping marginalized people. The loud blaring music accompanying the graphic film, the dim lightroom, and lack of waiters serving them food are all going to work towards the uncomfortableness of this screening. 

Target Audience for the film?

Realistically anyone can and should see this film to acknowledge this countries racist past in media. But the target audience would have to be social classes who were responsible for the creation of this film, the racist attitude towards marginalized people and those in power. Therefore the target audience of this screening is the upper-class member of society who back in 1933 would have joyfully participated in the oppression towards marginalized groups. Marginalized people know about the struggles they faced during the great migration and great depression, they do not need a reminder of their oppression. However, those who oppressed people do. Especially in today’s day and age when acknowledging past mistakes and acting to fix them is gaining more and more popularity with things like reparations being demanded. Maybe this film will shed light on the much needed change in the film industry and in the society in general. This screening shows that we as a society have not really changed all that much from King Kong and the early 30s. 

Why is the film relevant today?

King Kong is relevant today the same way Birth of a Nation (1915)  is relevant. Both films show the limitation of cinema in the early 30s while also showing our disgusting history of oppression. It is extremely important when making a film and watching a film to consider who suffered during production, who the intended audience was and the film’s overall message. When looking at King Kong and considering all those variables, hopefully this film can be a perfect example of what not to do.