King Kong (1976)

Celebrating the 50th anniversary of the middle child of mainstay KING KONG films! When a research ship is sent to explore an island thought to be rich in oil, paleontologist Jack Prescott sneaks aboard, having heard strange rumors about the island. En route, the crew rescues Dwan, the sole survivor of a shipwreck. When they arrive, they find native people living in fear of a monster called Kong. The natives kidnap Dwan and sacrifice her to what turns out to be an enormous ape. Dwan is eventually rescued, and the ape captured for a gala exhibit.

Review from The Craggus

There’s more than a hint of opportunistic JAWS cash-in the Dino De Laurentiis’ ambitious remake of the 1933 classic. With a script by then go-to screenwriter Lorenzo Semple Jr (best known, perhaps, for TV’s BATMAN), the 1976 KING KONG is, to date, the only telling of the original Kong story to have an entirely contemporary setting.

With the oil crisis in full swing, Petrox Oil Company executive Fred Wilson (Charles Grodin) mounts an expedition to an as-yet unexplored island in the Indian Ocean which has been detected by infrared imagery which suggests its permanent fog bank is, in fact, the gaseous outpourings of significant oil and gas deposits. Stowing away on the voyage is Jack Prescott (Jeff Bridges), a primatologist and environmental acitivte who opposes the exploration of the island btu eventually joins the party as an official photographer. En route to the island, they come across a life raft with a single occupant: Dwan (Jessica Lange in her screen debut), an aspiring actress who was aboard her director’s yacht which suddenly exploded. When the crew eventually arrive at the island, they find that the fog bank isn’t hiding vast energy reserves but rather a hostile tribe of natives and a jungle full of colossal creatures.

There’s little doubt that this contemporary KONG is a Dino De Laurentiis production, in fact it may be the quintessential De Laurentiis production because he doesn’t seem to have denied himself a single one of his usual impulses. It’s as sexy and violent as he can possibly get away with for a PG rating and it sure doesn’t skimp on the blood when Kong’s inevitable end arrives. The production design is, admittedly, fantastic – Kong’s island looks wonderful and modernising tweaks aside, the core of the original story survives pretty much intact and, if anything, has its environmental man versus nature themes brought further into the foreground. The lavish score by John Barry is another huge plus.

Read the rest of the review from Craig Holton here...