King Kong ist eine fiktive Affenkreatur monumentalen Ausmaßes. King Kong war das erste Monster, das für den Film erfunden und nicht aus Literaturvorlagen. Der Streifen „King Kong“ aus dem Jahr ist eine Neuverfilmung des ursprünglichen Klassikers von und des gleichnamigen Remakes aus dem Jahr. King Kong ist eine fiktive Affenkreatur monumentalen Ausmaßes. King Kong war das erste Monster, das für den Film erfunden und nicht aus Literaturvorlagen. Bitte akzeptieren Sie die Datenschutzbestimmungen. Zur gleichen Zeit wird aus der Beringsee eine Erhöhung der Wassertemperatur gemeldet, die Eisberge schmelzen lässt. Fred Wilson John Randolph: Bitte geben Sie Ihr Einverständnis. Insgesamt ist der Film zu lang. Tokyo SOS Godzilla: Spitzenrezensionen Neueste zuerst Spitzenrezensionen. Die Spezialeffekte des frühen Tonfilms waren ihrer Zeit voraus und begeisterten das Publikum, das zum ersten Mal Kämpfe zwischen einem Riesenaffen und Dinosauriern sowie die ikonische Szene des Showdowns auf dem Empire State Building bestaunen konnte. Denn, egal ob Original oder Peter-Jackson-Remake, je weiter der Film voranschreitet, desto lieber gewinnen wir den Riesengorilla - wie rührend er Ann vor allem möglichem Getier rettet, wie tollpatschig er sie auf seinem Felsen entblättert! Er gilt jedoch als wegweisender Film des japanischen Kaiju -Genres. Der Königsaffe ist und bleibt unsterblich, auch als Senior hat er nichts von seiner schaurig-schönen Faszination verloren. Als die Gruppe ablehnt, wird sie von den Eingeborenen angegriffen, kann diese aber durch Schüsse in die Luft abwehren und flüchten. In anderen Sprachen English Links bearbeiten. Texas Tea Slot Machine Online ᐈ IGT™ Casino Slots andere erkennen in dem Abenteurer Carl Denham und seinem vollmundigen Versprechen vom "achten Weltwunder" eine Allegorie auf den "New Deal", die massiven staatlichen Investitionen mit denen Franklin D. In anderen Projekten Commons. Dabei wollte der Dschungelkönig immer nur eines. Jackson hat mit seinem sensationell teuren Remake im wesentlichen nichts anderes gemacht als den Film von liebevoll gala coral online casino - eine kluge Beste Spielothek in Laucha finden. Skull Island gehabt, so Vogt-Roberts. Auch international www.sport live tv der Film sehr erfolgreich. Beide haben sich von dem geldgierigen Carl Denham abgewendet, der King Kong in einem Broadway -Theater dem zahlenden Publikum Beste Spielothek in Lennach finden. Im Internet ist es nicht üblich, seinen echten Namen zu Play Dead or Alive Online Slots at Casino.com South Africa. Im Folgenden behandelt er sie wie joyclub.dw Braut. Sie wird von Fujita gerettet. Der Regisseur Carl Denham ist mit seinen Filmen nicht allzu erfolgreich. Bitte füllen Sie alle Pflichtfelder aus. Eine blonde Schauspielerin wird ihm als Ann präsentiert, was Kong sehr wütend macht, als er die Täuschung erkennt. Big buck bunny Kong nicht im Abspann genannt. Auch die anderen schauspielerischen Leistungen überzeugen: Mit dem Boot fährt die Gruppe zum Treffpunkt und erreicht ihn rechtzeitig, als das Unterstützungsteam Beste Spielothek in Starkenhofen finden Helikoptern eintrifft. Denham und seine Filmcrew setzen sich unerlaubt auf Skull Island good online casino, um sie zu untersuchen und zu filmen.
Kinkong -Und die kühnsten interpretieren King Kong wahlweise als Bildnis für die zu zähmende Arbeiterklasse, die kommunistische Revolution, den Faschismus oder die triebhaft-männliche Sexualität, die am Ende vom - natürlich schwer phallischen - Empire State Building geschossen wird. Zum Beispiel der ewig lange Kampf gegen gleich 3 T-Rex, die einfach nicht aufgeben wollen obwohl die Beute so winzig ist. Diesen Hinweis in Zukunft nicht mehr anzeigen. Es existieren nur noch drei Fotos davon. Cooper , Ernest B. Warehouse Deals Reduzierte B-Ware. Freigegeben ab 12 Jahren Studio:
Cooper thought the draft needed considerable work but Wallace died on February 10, , just after beginning revisions. Cooper called in James Ashmore Creelman who was working on the script of The Most Dangerous Game at the time and the two men worked together on several drafts under the title The Eighth Wonder.
Some details from Wallace's rough draft were dropped, notably his boatload of escaped convicts. Wallace's Danby Denham character, a big game hunter, became film director Carl Denham.
The 'beauty and the beast' angle was first developed at this time. Cute moments involving the gorilla in Wallace's draft were cut because Cooper wanted Kong hard and tough in the belief that his fall would be all the more awesome and tragic.
Time constraints forced Creelman to temporarily drop The Eighth Wonder and devote his time to the Game script. RKO staff writer Horace McCoy was called in to work with Cooper, and it was he who introduced the island natives, a giant wall, and the sacrificial maidens into the plot.
Leon Gordon also contributed to the screenplay in a minimal capacity; both he and McCoy went uncredited in the completed film.
RKO head Selznick and his executives wanted Kong introduced earlier in the film believing the audience would grow bored waiting for his appearance , but Cooper persuaded them that a suspenseful build-up would make Kong's entrance all the more exciting.
Cooper felt Creelman's final draft was slow-paced, too full of flowery dialogue, weighted-down with long scenes of exposition,  and written on a scale that would have been prohibitively expensive to film.
Rather than explaining how Kong would be transported to New York, for example, she simply cut from the island to the theater.
She incorporated autobiographical elements into the script with Cooper mirrored in the Denham character, her husband Schoedsack in the tough but tender Driscoll character, and herself in struggling actress Ann Darrow.
Rose also rewrote the dialogue and created the film's opening sequence, showing Denham meeting Ann on the streets of New York. Cooper was delighted with Rose's script, approving the newly re-titled Kong for production.
After the RKO board approved the production of a test reel, Marcel Delgado constructed Kong or the "Giant Terror Gorilla" as he was then known per designs and directions from Cooper and O'Brien on a one-inch-equals-one-foot scale to simulate a gorilla 18 feet tall.
Kong's torso was streamlined to eliminate the comical appearance of the real world gorilla's prominent belly and buttocks. His lips, eyebrows, and nose were fashioned of rubber, his eyes of glass, and his facial expressions controlled by thin, bendable wires threaded through holes drilled in his aluminum skull.
During filming, Kong's rubber skin dried out quickly under studio lights, making it necessary to replace it often and completely rebuild his facial features.
A huge bust of Kong's head, neck, and upper chest was made of wood, cloth, rubber, and bearskin by Delgado, E. Gibson, and Fred Reefe.
Its fangs were 10 inches in length and its eyeballs 12 inches in diameter. The bust was moved from set to set on a flatcar. Its scale matched none of the models and, if fully realized, Kong would have stood thirty to forty feet tall.
Two versions of Kong's right hand and arm were constructed of steel, sponge rubber, rubber, and bearskin. The other hand and arm had articulated fingers, was mounted on a lever to elevate it, and was used in the several scenes in which Kong grasps Ann.
A non articulated leg was created of materials similar to the hands, mounted on a crane, and used to stomp on Kong's victims.
The dinosaurs were made by Delgado in the same fashion as Kong and based on Charles R. All the armatures were manufactured in the RKO machine shop.
Materials used were cotton, foam rubber, latex sheeting, and liquid latex. Football bladders were placed inside some models to simulate breathing.
Several of the models were originally built for Creation and sometimes two or three models were built of individual species.
Prolonged exposure to studio lights wreaked havoc with the latex skin so John Cerasoli carved wooden duplicates of each model to be used as stand-ins for test shoots and lineups.
He carved wooden models of Ann, Driscoll, and other human characters. Models of the Venture , railway cars, and war planes were built. King Kong is well known for its groundbreaking use of special effects, such as stop-motion animation , matte painting , rear projection and miniatures , all of which were conceived decades before the digital age.
The numerous prehistoric creatures inhabiting Skull Island were brought to life through the use of stop-motion animation by Willis O'Brien and his assistant animator, Buzz Gibson.
A device called the surface gauge was used in order to keep track of the stop-motion animation performance.
The iconic fight between Kong and the Tyrannosaurus took seven weeks to be completed. The scene was then composted with separate bird elements and rear projected behind the ship and the actors.
The background of the scenes in the jungle a miniature set were also painted on several layers of glass to convey the illusion of deep and dense jungle foliage.
The most difficult task for the special effects artists to achieve was to make live-action footage interact with separately filmed stop-motion animation - to make the interaction between the humans and the creatures of the island seem believable.
The most simple of these effects were accomplished by exposing part of the frame, then running the same piece of the film through the camera again by exposing the other part of the frame with a different image.
The most complex shots, where the live-action actors interacted with the stop-motion animation, were achieved via two different techniques, the Dunning process and the Williams process, in order to produce the effect of a travelling matte.
Dunning, employed the use of blue and yellow lighting, filtered and photographed into black-and-white film.
Bi packing of the camera was used for these types of effects. With it, the special effects crew could combine two strips of different film at the same time, creating the final composite shot in the camera.
On the other hand, the Williams process, invented by cinematographer Frank D. Williams , did not require a system of colored lights and could be used for wider shots.
It was used in the scene where Kong is shaking the sailors off the log, as well as the scene where Kong pushes the gates open.
The Williams process did not use bipacking , but rather an optical printer , the first such device that synchronized a projector with a camera, so that several strips of film could be combined into a single composited image.
Through the use of the optical printer, the special effects crew could film the foreground, the stop-motion animation, the live-action footage, and the background, and combine all of those elements into one single shot.
Another technique that was used in combining live actors and stop-motion animation was rear-screen projection. The actor would have a translucent screen behind him where a projector would project footage onto the back of the translucent screen.
It was used in the famous scene where Kong and the Tyrannosaurus fight while Ann watches from the branches of a nearby tree.
The stop-motion animation was filmed first. Fay Wray then spent a twenty-two hour period sitting in a fake tree acting out her observation of the battle, which was projected onto the translucent screen while the camera filmed her witnessing the projected stop-motion battle.
She was sore for days after the shoot. The same process was also used for the scene where sailors from the Venture kill a Stegosaurus.
O'Brien and his special effects crew also devised a way to use rear-projection in miniature sets. A tiny screen was built into the miniature onto which live-action footage would then be projected.
This miniature rear projection was used in the scene where Kong is trying to grab Driscoll, who is hiding in a cave. The scene where Kong puts Ann in the top of a tree switched from a puppet in Kong's hand to a projected footage of Ann sitting.
The scene where Kong fights the snake -like reptile in his lair was likely the most significant special effects achievement of the film, due to the way in which all of the elements in the sequence work together at the same time.
The scene was accomplished through the use of a miniature set, stop-motion animation for Kong, background matte paintings, real water, foreground rocks with bubbling mud, smoke and two miniature rear screen projections of Driscoll and Ann.
Over the years, some media reports have alleged that in certain scenes Kong was played by an actor wearing a gorilla suit.
King Kong was filmed in several stages over an eight-month period. Some actors had so much time between their Kong periods that they were able to fully complete work on other films.
Cabot completed Road House and Wray appeared in the horror films Dr. X and Mystery of the Wax Museum. She estimated she worked for ten weeks on Kong over its eight-month production.
Some of these scenes were incorporated into the test reel later exhibited for the RKO board. The script was still in revision when the jungle scenes were shot and much of the dialogue was improvised.
The jungle set was scheduled to be struck after Game was completed, so Cooper filmed all of the other jungle scenes at this time. The last scene shot was that of Driscoll and Ann racing through the jungle to safety following their escape from Kong's lair.
In July , the native village was readied while Schoedsack and his crew filmed establishing shots in the harbor of New York City.
Naval airfield on Long Island. Views of New York City were filmed from the Empire State Building for backgrounds in the final scenes and architectural plans for the mooring mast were secured from the building's owners for a mock-up to be constructed on the Hollywood sound stage.
In August , the island landing party scene and the gas bomb scene were filmed south of Los Angeles on a beach at San Pedro, California.
The great wall in the island scenes was a hand-me-down from DeMille 's The King of Kings and dressed up with massive gates, a gong, and primitive carvings.
The scene of Ann being led through the gates to the sacrificial altar was filmed at night with hundreds of extras and lights for illumination.
A camera was mounted on a crane to follow Ann to the altar. The Culver City Fire Department was on hand due to concerns that the set might go up in flames from the many native torches used in the scene.
The wall and gate were destroyed in for Gone With the Wind ' s burning of Atlanta sequence. Hundreds of extras were once again used for Kong's rampage through the native village, and filming was completed with individual vignettes of mayhem and native panic.
Meanwhile, the scene depicting a New York woman being dropped to her apparent death from a hotel window was filmed on the sound stage using the articulated hand.
At the same time, a scene depicting poker players surprised by Kong's face peering through a window was filmed using the 'big head', although the scene was eventually dropped.
In September—October , Schoedsack returned to the sound stage after completing the native village shoots in Culver City.
The decks and cabins of the Venture were constructed and all the live-action shipboard scenes were then filmed.
The New York scenes were filmed, including the scene of Ann being plucked from the streets by Denham, and the diner scene. Following completion of the interior scenes, Schoedsack returned to San Pedro and spent a day on a tramp steamer to film the scene of Driscoll punching Ann, and various atmospheric harbor scenes.
The Shrine Auditorium in Los Angeles was rented for one day to film the scenes where Kong is displayed in chains and the backstage theater scenes following his escape.
Schoedsack's work was completed and he headed to Syria to film outdoor scenes for Arabia , a project that was never completed.
In December — January , the actors were called back to film a number of optical effects shots which were mostly rear-screen projections.
Wray spent most of a twenty-two hour period sitting in a fake tree to witness the battle between Kong and a Tyrannosaurus.
She was sore for days after. Many of the scenes featuring Wray in the articulated hand were filmed at this time. Stunt doubles were filmed for the water scenes depicting Driscoll and Ann escaping from Kong.
A portion of the jungle set was reconstructed to film Denham snagging his sleeve on a branch during the pursuit scene. Originally, Denham ducked behind a bush to escape danger, but this was later considered cowardly and the scene was re shot.
The final scene was originally staged on the top of the Empire State Building, but Cooper was dissatisfied and re shot the scene with Kong lying dead in the street with the crowd gathered about him.
Murray Spivack provided the sound effects for the film. Kong's roar was created by mixing the recorded roars of zoo lions and tigers , subsequently played backwards slowly.
Spivak himself provided Kong's "love grunts" by grunting into a megaphone and playing it at a slow speed. For the huge ape's footsteps, Spivak stomped across a gravel-filled box with plungers wrapped in foam attached to his own feet, while the sounds of his chest beats were recorded by Spivak hitting his assistant who had a microphone held to his back on the chest with a drumstick.
Spivak created the hisses and croaks of the dinosaurs with an air compressor for the former and his own vocals for the latter.
The vocalizations of the Tyrannosaurus were additionally mixed in with puma screams. Bird squawks were used for the Pteranodon. Spivak also provided the numerous screams of the various sailors.
Fay Wray herself provided all of her character's screams in a single recording session. For budget reasons, RKO decided not to have an original film score composed, instead instructing composer Max Steiner to simply reuse music from other films.
Steiner completed the score in six weeks and recorded it with a piece orchestra. The studio later reimbursed Cooper.
King Kong' s score was the first feature-length musical score written for an American "talkie" film, the first major Hollywood film to have a thematic score rather than background music, the first to mark the use of a piece orchestra, and the first to be recorded on three separate tracks sound effects, dialogue, and music.
Steiner used a number of new film scoring techniques, such as drawing upon opera conventions for his use of leitmotifs.
The film was preceded by a stage show called Jungle Rhythms. The film had its official world premiere on March 23, at Grauman's Chinese Theater in Hollywood.
The 'big head bust' was placed in the theater's forecourt and a seventeen-act show preceded the film with The Dance of the Sacred Ape performed by a troupe of African American dancers the highpoint.
Kong cast and crew attended and Wray thought her on-screen screams distracting and excessive. It was re-released in , , , and The site's critical consensus reads, " King Kong explores the soul of a monster -- making audiences scream and cry throughout the film -- in large part due to Kong's breakthrough special effects.
Variety thought the film was a powerful adventure. On February 3, , Roger Ebert included King Kong in his " Great Movies " list, writing that "In modern times the movie has aged, as critic James Berardinelli observes, and 'advances in technology and acting have dated aspects of the production.
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.
Roosevelt 's first days in office. In the 19th and early twentieth century, people of African descent were commonly visually represented as ape-like, a metaphor that fitted racist stereotypes, further bolstered by the emergence of scientific racism.
While King Kong is often compared to the story of Beauty and the Beast , many film scholars have argued that the film was a racist cautionary tale about interracial romance, in which the film's "carrier of blackness is not a human being, but an ape".
Kong did not receive any Academy Awards nominations. Selznick wanted to nominate O'Brien and his crew for a special award in visual effects but the Academy declined.
Such a category did not exist at the time and would not exist until The film has since received some significant honors.
In , Kong was named one of the 50 best American films by the American Film Institute , and, in , the film was deemed "culturally, historically and aesthetically significant" by the Library of Congress and selected for preservation in the United States National Film Registry.
King Kong was re-released in , , , and ; each time to great box office success. These scenes were as follows: After the re-release, the film was sold to television first being broadcast March 5, RKO had failed to preserve copies of film's negative or release prints with the excised footage, and the cut scenes were considered lost for years.
In , a 16mm print, including the censored footage, was found in Philadelphia. The cut scenes were added to the film, restoring it to its original theatrical running time of minutes.
This version was re-released to art houses by Janus Films in Over the next two decades, Universal Studios carried out further photochemical restoration on King Kong.
This was based on a release print, with missing censor cuts taken from a print, which "contained heavy vertical scratches from projection. After a 6-year worldwide search for the best surviving materials, a further, fully digital, restoration utilizing 4K resolution scanning was completed by Warner Bros.
King Kong was also, somewhat controversially, colorized in the late s for television. In , King Kong was one of the first films to be released on LaserDisc by the Criterion Collection , and was the very first movie to have an audio commentary track included.
Criterion's audio commentary was by film historian Ron Haver ; in Image Entertainment released another LaserDisc, this time with a commentary by film historian and soundtrack producer Paul Mandell.
Er hat den Gedanken, Kong zu betäuben und ihn nach New York zu schaffen, um ihn dort als Achtes Weltwunder auszustellen. Es gelingt der Besatzung, das riesige Tier zu überwältigen und zu betäuben.
Ann Darrow hat den Affen jedoch inzwischen so lieb gewonnen, dass seine brutale Festnahme sie zutiefst schockiert; sie kann aber nichts gegen die Männer ausrichten.
Einige Monate später in New York: Die Wege der Expeditionsmitglieder haben sich getrennt. Eine Beziehung scheint nicht entstanden zu sein.
Beide haben sich von dem geldgierigen Carl Denham abgewendet, der King Kong in einem Broadway -Theater dem zahlenden Publikum präsentiert.
Bei der Premiere hat man ihn in schwere Eisenketten gelegt und auf die Bühne gesetzt. Eine blonde Schauspielerin wird ihm als Ann präsentiert, was Kong sehr wütend macht, als er die Täuschung erkennt.
Als er dann noch durch die Blitzlichter der Fotografen irritiert wird, sprengt er seine Fesseln und zieht auf der Suche nach Ann durch die Stadt.
Auf seinem Weg löst er eine Massenpanik aus und hinterlässt eine Spur der Verwüstung. Kurz nachdem er Jack Driscoll gestoppt hat, der ihn weglocken wollte, taucht Ann Darrow auf, die durch die Einsatzwagen und Sirenen alarmiert bereits nach dem Affen sucht.
Gemeinsam mit ihr flüchtet er vor der Armee durch das winterliche New York und die beiden freuen sich über ihr Wiedersehen, das dann durch das Militär gestört wird.
Kong gerät unter Beschuss und flüchtet mit Ann. Er fängt dabei mehrere Flugzeuge im Nahflug ab und zerstört sie, allerdings erleidet er auch schwere Verletzungen.
Im Sterben nimmt er Abschied von Ann, die sich unter Tränen ein letztes Mal an das aus seiner Heimat verschleppte Dschungeltier schmiegt. Sein Körper erschlafft und findet keinen Halt mehr auf dem Turm; so stürzt der leblose Körper in die Tiefe.
Driscoll ist seiner Freundin inzwischen bis auf den Turm gefolgt und tröstet sie. Auch Carl Denham erscheint ein letztes Mal und philosophiert , dass nicht die Flugzeuge, sondern Schönheit die Bestie zerstört habe.
Die Marketing-Kampagne begann am Der erste Teaser -Trailer wurde auf der offiziellen Website des Autokonzerns Volkswagen veröffentlicht.
Die Weltpremiere fand am 5. Dezember in New York statt, die Europapremiere am 7. Dezember in Berlin. Der Film kam am Dezember in die Kinos. Der Filmstart verlief mit etwa Bezieht man die DVD-Verkäufe noch mit ein, sind es ca.
Dabei kann man auf drei DVDs unter anderem 13 zusätzliche Filmminuten ansehen. Die Spielfiguren entsprechen den Schauspielern im Film und tragen ihre originalen Stimmen.
Die Premiere in Deutschland am Besonders erfolgreich war er in der Gruppe der bis Jährigen: Der Fokus des Films liegt nun darauf, jede Situation emotional auszuschöpfen sowie jedes Detail glaubwürdig darzustellen.
Der gigantische Silberrückengorilla King Kong selbst sollte weder vermenschlicht noch zum puren Filmmonster degradiert werden.
Peter Jackson rekonstruierte sie in originaler Tricktechnik von und fügte sie der Videoauswertung seines Remakes als Bonus-Video hinzu.
Howard hatte weniger als zwei Monate Zeit, um die Musik für den Film zu komponieren. Dabei erwähnt er auch Fay Wray , worauf sein Assistent entgegnet, dass er sie nicht bekommen könne, weil sie gerade einen Film für RKO drehe.
Als fähiger Fahrer übernahm er viele Auto-Stunts selbst. Dort entdeckt ein Zoologe einen sogenannten Rattenaffen , eine Kreuzung aus Ratte und Affe, durch dessen Biss sich das Opfer in einen Zombie verwandelt, was dem Zoologen letztlich zum Verhängnis wurde.
Sumatranischer Rattenaffe — Hüten Sie sich vor dem Biss! Dies ist ebenfalls ein Hinweis auf Braindead. Peter Jackson hatte einen kleinen Auftritt im Film: Allerdings gibt es einen Unterschied: Jimmy taucht auch im Spiel zum Film auf.
Die deutschsprachige Synchronisation erfolgte durch Interopa Film nach einem Dialogbuch von Andreas Fröhlich , der auch die Dialogregie führte.
Golden Globe Awards Toronto Film Critics Association Award. In ihrer Begründung schreibt sie: Das Filmmagazin Manifest kommt zu folgendem Urteil: Wer hier noch etwas fühlen kann, hat auch schon Tränen in den Augen, wenn er seine Playstation anschaltet.
Kong ist der letzte seiner Art. Dem Sterben eher zugewandt als dem Töten. Sascha Keilholz schreibt auf Critic. Doch die Orientierung an der Theatralik des damaligen Schauspiels verbietet Watts das Abrufen ihrer Fähigkeiten im psychologischen Spiel.
Damit würden sie auch Gefahr laufen, dem eigentlichen Star des Films die Schau zu stehlen: Das Lexikon des internationalen Films meint: