IN THE SPOOKLIGHT: GORGO (1961)

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When you think of giant monster movies, you most likely think of Godzilla and King Kong, arguably the two most famous giant movie monsters of all time, and you probably think of Japan’s Toho Studios, who made so many of those Godzilla movies we love, as well as plenty of other giant monster adventures.

But today’s movie, GORGO (1961), hails from the United Kingdom, a country that historically did not churn out a whole bunch of giant monster movies. And while in some ways the plot borrows heavily from the original GODZILLA (1954), except in this case rather than Godzilla emerging from the ocean to destroy Tokyo, we have Gorgo emerging from the ocean to pummel London, GORGO is a good enough giant monster movie to stand on its own.

In fact, the special effects in this one depicting Gorgo’s assault on London are right up there with Godzilla’s more famous attack on Tokyo. Topnotch stuff! So much so, that this sequence which pretty much takes up the entire second half of the movie, ranks as one of the best monster-attacks-city sequences ever put on film! The movie is only 78 minutes long, and so at the end of the day, GORGO is one action-packed giant monster movie!

But it’s also rather odd in that it’s one of the few monster movies— or any movie for that matter— that doesn’t really feature any women! There are no female main characters, and I think there’s only two women in the film who even speak any lines of dialogue!

Then again, giant Gorgo is a female, as she is a mommy monster in search of her baby monster which gets kidnapped and taken to London. Hmm. Maybe Gorgo’s contract stipulated that she would be the only prominent female in the cast?

Anyway, GORGO is the story of Joe Ryan (Bill Travers) and Sam Slade (William Sylvester) who helm a salvage vessel, and when they discover a sea monster off the coast of Ireland, they capture it and decide to bring it back to London in order to make money off it. These guys obviously went to the Carl Denham school of business! Little boy Sean (Vincent Winter), who lives on the island where Gorgo is discovered, tells Joe and Sam that they shouldn’t capture the monster and take him away, but the adults don’t listen to him. So, Sean secretly stows away on the ship, and when Joe and Sam discover him, they decide to take care of him and pretty much adopt him for the rest of the movie. Er, Sean, where the hell are your parents?

They bring Gorgo to London where he is shown off at a circus and much to Joe and Sam’s delight, makes them lots of money. But it turns out, this is only a baby Gorgo, and when mommy Gorgo emerges from the ocean, she’s none too happy about her son being abducted, and so she swims to London and attacks the city in order to get him back.

And there’s your plot!

GORGO was directed by Eugene Lourie, who must have loved giant monster movies, because this was the fourth time he directed a movie about a giant monster! His first, THE BEAST FROM 20,000 FATHOMS (1953), is probably his most famous, as it featured the special effects of Ray Harryhausen and was based on the short story “The Fog Horn,” by Ray Bradbury. Lourie followed this up with THE COLOSSUS OF NEW YORK (1958), a film about a giant robot, and then he made THE GIANT BEHEMOTH (1959), which featured the special effects of KING KONG creator Willis O’Brien, which told the story of a yet another giant sea monster.

And then he made GORGO. Overall, THE BEAST FROM 20,000 FATHOMS is probably his best movie, mostly because it did feature the effects of Ray Harryhausen, but GORGO is a close second, and the attack on London is far more intense than any of the scenes found in THE BEAST FROM 20,000 FATHOMS.

Even more interesting, these are the only four movies Eugene Lourie ever directed! He should have directed more, because all four of these movies are very good, and two of them, THE BEAST FROM 20,000 FATHOMS and GORGO are downright excellent! Lourie passed away in 1991 from heart failure.

Robert L. Richards and Daniel James wrote the screenplay which tells a decent enough giant monster story, with the one glaring oddity being that there are no women in this story whatsoever!

Young Vincent Winter, who played Sean, would become disappointed with acting and turn to working behind the scenes where he would serve as an assistant director for many movies, including the Christopher Reeve SUPERMAN (1978). Winter died in 1998 from a heart attack at the age of 50.

Also in the cast is Martin Benson, who played the circus owner who promotes Gorgo in London. Benson is no stranger to genre films, having played doomed Father Spiletto in THE OMEN (1976), and, in the role I remember him most for, playing the weasel-like Mr. Rash in NIGHT CREATURES (1962), Hammer’s pirate adventure starring Peter Cushing and Oliver Reed. Benson also had a “pressing engagement” in the Sean Connery James Bond classic GOLDFINGER (1964), as his character ends up being crushed in a car by Oddjob.

And speaking of Hammer Films, in the scene where baby Gorgo is paraded around London, you can see Hammer’s THE MUMMY (1959) playing at the theater at Piccadilly Circus.

The impressive special effects were created by Tom Howard, who would later work on Stanley Kubrick’s 2001: A SPACE ODYSSEY (1968). Interestingly enough, the same monster suit was used for both mommy Gorgo and baby Gorgo, and the size difference was achieved with different sets and models, as well as different roar sound effects.

When GORGO was released in 1961, there had only been two Godzilla movies released, the original and its sequel GODZILLA RAIDS AGAIN (1955), but the filmmakers must have had Godzilla in mind because they premiered GORGO in Japan rather than in the United Kingdom.

Japan returned the favor by basically remaking GORGO as MONSTER FROM A PREHISTORIC PLANET (1967) (Its original and better title is GAPPA THE TRIPHIBIAN MONSTERS), a tale in which a mommy and a daddy monster attack Tokyo in order to bring back their baby monster which had been taken to Japan.

The lesson from both these movies is, if you’re going to put a young giant monster in a show, you’d best ask its parents’ permission first! You might also want to include them in the contract and give them a piece of the proceeds!

GORGO is one of the better giant monster movies of yesteryear. In spite of the dubious decision not to feature any female characters in its story other than the giant monster Gorgo herself, this one features really good special effects and a second-half giant monster assault on London that can’t be beat!

The title, by the way, comes from the Gorgon, as Gorgo is short for Gorgon, and it refers to the Medusa tale of the creature so hideous one look at her would turn people to stone. While Gorgo is not that hideous looking, the creature is indeed monstrous and is impressive to behold.

So, you don’t have to be afraid of Gorgo’s face. It won’t turn you into stone. On the other hand, you probably should be afraid of Gorgo’s feet, which will turn you into some itty-bitty pieces of crushed flesh and bone when they step on you.

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GODZILLA VS. KONG (2021) – Clash of Giant Monster Icons Is One Colossal Bore

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The best thing I can say about GODZILLA VS. KONG (2021), the new giant monster movie bout which tries but fails miserably to capture the magic of the giant monster movies of a bygone era, is that it runs under two hours.

Had it been any longer, I wouldn’t have survived.

Now, that being said, I didn’t hate GODZILLA VS. KONG, for the simple reason that the monster scenes in this one aren’t that bad. And as a King Kong fan, Kong fares rather well here.

But the script by Eric Pearson and Max Borenstein is so dreadfully awful on so many levels it completely ruins anything that might be redeemable about this one. It zaps all enjoyment from the film. So while I enjoyed Kong and Godzilla, the experience is akin to watching someone play a video game where Kong and Godzilla do battle. You watch because you love the monsters, the graphics are amazing, and you feel some nostalgia. But after a few minutes you move on. And that’s what GODZILLA VS. KONG is, really. Just a glorified video game. Sorry folks, but it’s not a movie. Movies have stories to tell. This one does not.

Even the old Toho Godzilla movies, as silly as they were, knew how to tell a story. They were often ridiculous stories, but they were stories. And they had characters. Again, some pretty ridiculous and oftentimes dull characters, but they were there. In GODZILLA VS. KONG, and the previous crop of recent GODZILLA and KONG movies, there are people with names who say and do things in the “movie,” but they’re not characters. They have trite back stories, cliched personalities, and conflicts so general they put you to sleep.

But none of this matters because the powers that be know that a movie like GODZILLA VS KONG doesn’t need good writing. It’s still going to make a ton of money without it. Which is why ultimately I do not like these new Godzilla and Kong movies, because they sport some pretty bad writing. Compared to the superior fare found on the small screen these days, it’s like night and day.

And yet strangely I did not hate GODZILLA VS. KONG. Let’s find out why.

Well, it certainly wasn’t because of the story! In GODZILLA VS. KONG, there are two sets of “characters” and two sets of “stories.” I guess you could call them Team Kong and Team Godzilla. There’s Ilene Andrews (Rebecca Hall) who’s known as the “Kong Whisperer” because she can communicate with Kong as he is kept in a virtual rendition of Skull Island, which just happens to be— on Skull Island!— for his own good, because if his presence is made known, Godzilla will seek out and kill him. Come again? Just because humans hadn’t discovered Kong doesn’t mean that Godzilla wouldn’t know about him. And why Godzilla would go after Kong, to be the one and only alpha on Earth, yeah, that’s about as believable as the cliched cardboard villain who wants to “take over the world!” Hahahahahaha!!!!!!

Actually, young Jia (Kaylee Hottle) who is deaf is better at communicating with Kong, and Kong actually uses sign language with her, in one of the few sequences in the movie that actually works. And there’s professor/author Nathan Lind (Alexander Skarsgard) who believes in a hollow Earth theory— whaaaatttt??? Yep, this here is GODZILLA VS. KONG MEETS JULES VERNE. Yes, in this flick, we journey to the center of the earth, because that’s where all the giant monsters came from, and it’s where they must bring Kong so he can learn about his origins! WTF? In the next movie, we will learn that the moon is made of cheese.

Then there’s team Godzilla. High school student Madison Russell (Millie Bobby Brown), who survived the events in GODZILLA: KING OF THE MONSTERS (2019) believes that Godzilla is only attacking humans because he’s been provoked, and she sets out with one of her friends to find the truth about what’s going on and save the world in the process. She connects with conspiracy theorist Bernie Hayes (Brian Tyree Henry) and the three travel to Hong Kong to take on the “evil company” which is driving Godzilla nutty.

Just an aside. A conspiracy theorist as a hero in this movie? Seriously? Here in 2021 where conspiracy nuts attacked the U.S. Capitol? This is reason alone for me never to watch this movie again. What were those writers thinking? I know! They weren’t!

Then there are the villains, led by Walter Simmons (Demian Bichir) who is about as effective Pedro Paschal’s Maxwell Lord in WONDER WOMAN 1984 (2021) which is to say, he’s not effective at all.

These folks spend most of the time saying and doing things, only to be mostly ignored by Godzilla and Kong, who do what they want anyway, eventually meeting up in Hong Kong for the movie’s title bout. And I guess no one lives in Hong Kong. I mean, the two behemoths completely demolish the city, and it’s all so nice and neat. No human carnage to be found anywhere.

GODZILLA VS. KONG does have talented actors working here, so in spite of the poor writing, some of these folks do have their moments.

Brian Tyree Henry fares the best. After all, he’s playing the character I liked the least, conspiracy theorist Bernie Hayes, and yet he’s pretty funny throughout the movie. His performance is proof that really good actors could read from the pages of a dictionary and turn in a good performance based on their talents alone, which is the case here, because pages in a dictionary would make more worthwhile reading than the pages of the script.

Rebecca Hall also delivers a very nice performance as “Kong whisperer” Ilene Andrews, even though Andrews is pretty much a nothing character. The same can be said for Alexander Skarsgard, who plays Nathan Lind, another ridiculous character, but Skarsgard, like Hall, somehow manages to make their characters at least sympathetic. And young Kaylee Hottle is sufficiently innocent as Kong’s best friend, Jia.

Millie Bobby Brown, a wonderfully talented actress who we’ve seen in STRANGER THINGS (2016-2021) and the recent Netflix movie ENOLA HOMES (2020) is largely wasted here as Madison Russell. She gets some of the worst dialogue in the movie, and her story arc of a high school student infiltrating a major tech company in Hong Kong with more ease than opening a classmate’s locker is exceedingly farfetched.

But not to worry. Demian Bichir fares even worse, as his villain Walter Simmons is by far the worst character in the movie.

But what about the giant monsters? Kong fares better than Godzilla here. Most of the story revolves around Kong, and he looks better than he did in KONG: SKULL ISLAND (2017), a film I did not like, even though many fans do. Kong in KONG: SKULL ISLAND had zero personality. The Kong in this movie does, and it was good to see the giant ape monster reestablish his screen persona.

However, I thought Godzilla did little more than stomp around and destroy things.

The climactic battle is okay. The CGI effects on Godzilla and Kong are fine, and the colors in Hong Kong are dazzling, but at the end of the day, all of it, is just so… fake looking. Nothing about it comes off as real. Like the entire movie, it’s just visuals on a screen. And for me, that’s one big yawnfest.

Director Adam Wingard makes this one look good, but that’s about all I can say about it. GODZILLA VS. KONG looks good.

The screenplay by Eric Pearson and Max Borenstein reads like a first draft, and not a very good one.

If you like giant monster movies, and are satisfied watching Godzilla and Kong battle for the final few minutes of a movie with the rest being pretty darn dull, you’ll like GODZILLA VS. KONG. But if you’re like me, and actually want to see a MOVIE, a piece of film that actually has a story to tell, one with a little more relevance than “the world is hollow and giant monsters once lived there!!!” you’ll find GODZILLA VS. KONG to not only be a snoozefest, but an insult to moviegoers the world over.

So, no, I didn’t hate this one. It’s Godzilla and King Kong, after all. But it’s long past time for Godzilla and Kong to find a new agent.

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PICTURE OF THE DAY: KING KONG VS. GODZILLA (1962)

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With the release of GODZILLA VS. KONG (2021) right around the corner, what better way to celebrate than to feast your eyes on an image from the original Kong vs. Godzilla rumble, KING KONG VS. GODZILLA (1962).

Any way you slice it, KING KONG VS. GODZILLA— at least the American dubbed version— is one silly movie. Yet, I loved it as a kid, and truth be told, I still love it as an adult! It has lots of comic relief— “my corns!”— , memorable characters— who can forget Tako?— and of course, the biggest title bout of the 1960s that didn’t involve Muhammad Ali!

If you love giant monsters, especially King Kong and Godzilla, you would be hard-pressed not to enjoy KING KONG VS. GODZILLA. Both monsters fare very well in this flick, and since this was still an early Godzilla movie, he hadn’t quite made the change to good guy superhero monster. He’s still the villain here, and the Godzilla scenes, especially early on, are quite good.

Kong doesn’t do as well, at least in the looks department. For my money, Kong in this movie is the worst looking King Kong ever in the movies! He is absolutely ridiculous looking! That being said, he does enjoy some fine scenes.

The best of course, and the best scenes in the movie, are the battles between Kong and Godzilla. And there are two of them. The first is brief, almost a teaser, but the second is well worth the wait. It’s one of the better giant monster skirmishes ever put on film, although it’s not my favorite Godzilla battle. There are some in the series which top this one.

And if you’ve seen the movie, one of the more indelible images is the pagoda, which Godzilla and Kong absolutely pummel towards the end of their bout. While nowhere near as memorable as the image of the Empire State Building in the original KING KONG (1933), it still makes its mark. I can’t think of KING KONG VS. GODZILLA without picturing that scene pictured above.

Another reason KING KONG VS. GODZILLA is a silly movie, which fans have known for years, is that the original Kong stood about 40 feet high, while Godzilla towered at 400 feet high. Kong grew a few inches for this movie. He also developed a re-charging tool courtesy of the Frankenstein Monster. See, in KING KONG VS. GODZILLA, Kong gets strength when he’s zapped by lightning! Imagine that! Lightning pretty much kills the rest of us, but for Kong, as they say in the movie, it’s like spinach for Popeye! And Kong needs the extra strength, because as we all know, Godzilla breathes radioactive fire, and so after he zaps Kong with this, nearly killing him, thankfully, mother nature intervenes and strikes Kong with some lightning, and the wrestling bout continues!

I love the power writers wield. Hmm. Kong will never survive Godzilla’s fire…. wait, lightning, that will do it. Lightning will make him stronger. Who knew?

And while I am fairly excited about the new GODZILLA VS. KONG, and I will definitely watch it, I have to admit, I just haven’t enjoyed any of the new Godzilla or Kong movies. They’ve all lacked soul and personality, and they simply haven’t been fun. Worst of all, they’ve all suffered from really bad scripts.

So, I fully expect GODZILLA VS. KONG to be pretty bad, or worse, mediocre. I always go in with an open mind, so I’m hoping I will be pleasantly surprised.

In the meantime, I’m enjoying looking back and thinking fondly on the original battle between these two behemoths, featured in the silly yet satisfying KING KONG VS. GODZILLA.

With that in mind, I eagerly await GODZILLA VS. KONG.

May the best monster win!

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IN THE SPOOKLIGHT: KONG: SKULL ISLAND (2017)

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I am a huge King Kong fan and have enjoyed pretty much every King Kong movie ever made, with the exception of KING KONG LIVES (1986), which in spite of the presence of Linda Hamilton, was pretty awful.

That being said, I just don’t like KONG: SKULL ISLAND (2017).

Now, I know I’m in the minority here, as most folks are really high on this flick, but for me, it just doesn’t work.

The biggest culprit, as is so often the case, is the writing. The screenplay by Dan Gilroy, Max Borenstein, and Derek Connolly is a snooze. The dialogue is rather bad, and the characterizations pretty much nonexistent.

I saw KONG: SKULL ISLAND when it first came out in theaters. I didn’t like it then, but I thought I’d give it another go for the purposes of this column. I still don’t like it.

For starters, the film takes place in the 1970s for seemingly no other reason than to show off Vietnam era soldiers and choppers on Skull Island. While it may make for some moments of cool cinematography, it adds nothing to the story.

KONG: SKULL ISLAND also wastes the considerable talents of its impressive cast, which includes Tom Hiddleston, Brie Larson, Samuel L. Jackson, John Goodman, John C. Reilly, and Shea Whigham.

Bill Randa (John Goodman) sets out to lead an expedition to Skull Island in search of… well, the movie doesn’t really make that clear. Remember the old days when Carl Denham just wanted to make a movie, and then changed his mind when he saw Kong? Why can’t we have clear, concise, and simple plot points like that anymore? Ah, the good old days, when film writing was king! Sorry, Kong. Yes, Kong. I realize in a column about a King Kong movie you’re the only one who should be mentioned as king. Anyway…

Getting back to my point about the writing and character motivations, heck, even Charles Grodin’s Fred Wilson had an agenda in the 1976 remake of KING KONG, as he was looking for oil. Like the rest of the script in KONG: SKULL ISLAND, Randa’s motives remain murky and undefined. He’s looking for a giant monster because…. mumble, mumble, mumble. Yeah, that’s it! That’s the reason! Which is a writer’s code for not really having a good reason in the first place! Grrr!!!

Anyway, Randa assembles his team, which includes a tracker James Conrad (Tom Hiddleston) and a photographer Mason Weaver (Brie Larson), as well as a military escort led by Prescott Packard (Samuel L. Jackson) who is still bristling over the results in Vietnam. As a result, when Kong quickly makes short work of some of his men, Packard declares war on the giant ape and sets out to kill him.

The bulk of KONG: SKULL ISLAND follows Randa and his merry band of explorers as they deal with various carnivorous creatures as well as Kong himself, which all sounds much better than it really is.

Again, the biggest culprit is the screenplay. We know so little about these characters it’s difficult to care at all about them. Compared to the 1933 KING KONG, where we had Carl Denham trying to make a movie, Ann Darrow abducted by Kong, and Jack Driscoll falling in love for the first time in his life with Ann, the folks in this story have nothing going on that is as interesting. Worse yet, the dialogue is awful.

The direction by Jordan Vogt-Roberts isn’t any better. KONG: SKULL ISLAND plays like KING KONG MEETS TOP GUN, as that’s the kind of depth you have in this flick.

Then there’s Kong himself. Kong has always been larger than life in his movies. Like Godzilla, Kong has a personality and a presence. In short, he’s a major character in his films. And even when he is at his most brutal, he still is sympathetic. The Kong in this movie struggles to have any personality whatsoever. He’s the most uncinematic Kong yet.

The special effects are okay. I’ve seen better, and I’ve seen worse. The creatures on Skull Island, while fairly original, never really wowed me. I think because, like the human characters, they’re stuck in a lifeless soulless movie.

Is KONG: SKULL ISLAND as bad as KING KONG LIVES? No. But that’s not saying very much.

If you want to experience the horrors of Skull Island, you’d best stick to the original KING KONG. That film’s Skull Island’s scenes remain as intense now as they were back in 1933. The events in KONG: SKULL ISLAND pale in comparison.

Some have called KONG: SKULL ISLAND “mindless entertainment.”

I call it just mindless.

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PICTURE OF THE DAY: Aurora Monster Models

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Today’s Picture of The Day comes from the art of model making, monster models, to be exact!

Back in the day, a company named Aurora manufactured model kits of everyone’s favorite classic movie monsters! They were introduced in the the 1960s. I was collecting and building mine in the 1970s. Just thinking about them brings back memories, from the joy of building them, to the orange smell of the nontoxic model glue, to the frightening display of all my glow in the dark monster models on my bureau in my bedroom, on some nights scary enough to stop me from falling asleep.

I owned all four of the monster models pitctured above, the Mummy, the Wolf Man, Frankenstein, and Dracula.

Dracula was the first monster model I ever owned, and was the best, since my uncle, also a horror movie fan, helped me build it. I also owned Dr. Jekyll and Mr. Hyde, the Phantom of the Opera, the Creature from the Black Lagoon, Godzilla, and King Kong.

Toys which helped warp…. er, shape a childhood!  These magnificent models are up there with the Creature Double Feature and Famous Monsters of Filmland.

Wonderful memories indeed!

As always, thanks for reading.

—Michael

Books by Michael Arruda:

DARK CORNERS, Michael Arruda’s second short story collection, contains ten tales of horror, six reprints and four stories original to this collection.

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Waiting for you in Dark Corners are tales of vampires, monsters, werewolves, demonic circus animals, and eternal darkness. Be prepared to be both frightened and entertained. You never know what you will find lurking in dark corners.

Ebook: $3.99. Available at http://www.crossroadspress.com and at Amazon.com.  Print on demand version available at https://www.amazon.com/dp/1949914437.

TIME FRAME,  science fiction novel by Michael Arruda.  

How far would you go to save your family? Would you change the course of time? That’s the decision facing Adam Cabral in this mind-bending science fiction adventure by Michael Arruda.

Ebook version:  $2.99. Available at http://www.crossroadpress.com. Print version:  $18.00. Includes postage! Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.

IN THE SPOOKLIGHT, movie review collection by Michael Arruda.

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Michael Arruda reviews horror movies throughout history, from the silent classics of the 1920s, Universal horror from the 1930s-40s, Hammer Films of the 1950s-70s, all the way through the instant classics of today. If you like to read about horror movies, this is the book for you!

 Ebook version:  $4.99.  Available at http://www.crossroadpress.com.  Print version:  $18.00.  Includes postage. Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.

FOR THE LOVE OF HORROR, first short story collection by Michael Arruda.  

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Print cover

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Ebook cover

 

Michael Arruda’s first short story collection, featuring a wraparound story which links all the tales together, asks the question: can you have a relationship when your partner is surrounded by the supernatural? If you thought normal relationships were difficult, wait to you read about what the folks in these stories have to deal with. For the love of horror!

 Ebook version:  $4.99.  Available at http://www.crossroadpress.com. Print version:  $18.00.  Includes postage. Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.  

 

 

 

 

IN THE SPOOKLIGHT: ONE MILLION B.C. (1940)

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After KING KONG (1933), film audiences really had to wait a while before any other giant monsters returned to the big screen. The next major giant monster release really wasn’t until Ray Harryhausen’s special effects driven THE BEAST FROM 20,000 FATHOMS (1953), based on Ray Bradbury’s short story “The Fog Horn.” Of course, the following year Japan’s Toho Studios released GODZILLA (1954) and after that there was no looking back for giant monster fans.

But in between 1933 and 1953 were lean years, with just a couple of films released featuring oversized creatures. One of these films was ONE MILLION B.C. (1940), an adventure about two different cave tribes who have to overcome their differences in order to survive.

One of the reasons they have to fight to survive is there are some prehistoric beasts on the loose. Yup, this isn’t factually accurate, of course, as some of these creatures would have been extinct long before cave people walked the earth, but who’s complaining?

While ONE MILLION B.C. technically isn’t a horror movie, it does feature enormous ferocious creatures, and it is also of interest for horror fans because it features a pre-Wolf Man Lon Chaney Jr. in the cast.

The plot of ONE MILLION B.C. is pretty much a love story, as Tumak (Victor Mature) and Loana (Carole Landis) who are from opposing tribes meet and fall in love. Loana’s tribe is the more advanced and civilized of the two, and as they welcome Tumak, he learns of their more modern ways and uses this knowledge to help his own people. Meanwhile, life in the stone age is no picnic. There are nasty creatures at every turn, and pretty much all of them want to eat people for breakfast, lunch, and dinner.

Lon Chaney Jr. plays Tumak’s father Akhoba, who is a bit rough around the edges and sees nothing wrong with eating all the food first and letting his underlings have the scraps, which is unlike Loana’s tribe, who share their food equally.

While Victor Mature, Carole Landis, Lon Chaney Jr. and the rest of the human cast are all fine, since they’re playing cave people, they don’t really have any lines of dialogue, meaning this one can become tedious to watch.

The real stars in this one are the creatures, and the special effects run hot and cold. Mostly cold. There is a T-Rex like dinosaur that is laugh-out-loud awful. It’s obviously a man in a suit, its size changes, and at times it seems to be no taller than a center for the NBA.

The best effects are when the film utilizes real lizards and makes them seem gigantic. Most of the time this type of effect is inferior, but in this film the “giant” lizards look pretty authentic. The film also does a nice job with the “mastodons” which are elephants in disguise. If anything is done well consistently, it’s the sound effects. All the creatures, regardless of how they look, sound terrifying.

The special effects were actually nominated for an Academy Award but lost out to THE THIEF OF BAGDAD (1940).

ONE MILLION B.C. was directed by Hal Roach and Hal Roach Jr., and while the monster scenes are all rather exciting, what happens in between them is not. In fact, most of the film is pretty much a bore.

But audiences in 1940 didn’t think so. ONE MILLION B.C. was the box office champion that year.

Mickell Novack, George Baker, and Joseph Frickert wrote the standard no frills screenplay.

Victor Mature would go on to make a lot of movies, including SAMSON AND DELILAH (1949) and THE ROBE (1953), while Carole Landis, who pretty much gives the best performance in the film, sadly struggled to land leading roles in subsequent movies, ultimately leading to her tragic suicide at the age of 29 in 1948.

And Lon Chaney Jr. of course would make THE WOLF MAN the following year, and the rest, as they say, was history.

Over the years, ONE MILLION B.C. has been overshadowed by its Hammer Films remake, ONE MILLION YEARS B.C. (1966), which starred Raquel Welch and featured special effects by Ray Harryhausen. Neither film is among my favorites.

This Thanksgiving, as you prepare to give thanks and dig into that grand turkey dinner, you might want to check out ONE MILLION B.C., a movie that recalls a long ago time when it was humans who were on the holiday menu.

—END—

 

 

 

 

GODZILLA: KING OF THE MONSTERS (2019) – Mixed Bag of A-List Actors and Mediocre Giant Monster Battles

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GODZILLA: KING OF THE MONSTERS (2019), the latest American made Godzilla film and sequel to Warner Bros.’ GODZILLA (2014), is a well-acted action-filled monster movie that somehow in spite of these strengths is sadly underwhelming.

And that’s because this movie contains an odd mix of often ridiculous plot points combined with a tone that simply takes itself way too seriously. Instead, the film should have gone for one or the other. A campier tone would have aligned itself better with the goofy superficial plot points. Likewise, a much more realistic and gritty storyline would have fit in better with the film’s serious feel. As it stands, the movie mixes both, and it just doesn’t work.

Following the 2014 Godzilla attacks which left the world a different place, the secret organization Monarch is in charge of monitoring all the new giant monsters which have been discovered in various places around the globe (silly plot point #1), but the U.S. government and military want to shut down Monarch so they can destroy the monsters and save the Earth. But the Monarch scientists argue that the monsters really aren’t here to destroy the Earth but to save it from its worst enemy: humankind.

Top Monarch scientist Dr. Emma Russell (Vera Farmiga) and her husband Mark (Kyle Chandler) lost their son in the previous Godzilla attack, and his death caused them to separate, and Emma alone is raising their daughter Madison (Millie Bobby Brown). It also caused Emma to have extreme ideas about these monsters, and so she aligns herself with the dubious Jonah Alan (Charles Dance)— cue evil villain music!— and the two plan to release the giant monsters so they can unleash their wrath on the world and “cleanse” it of its human cancer.  Hmm. Where have I heard this before? Is that Thanos I see whispering into Dr. Russell’s ear?

But Dr. Russell isn’t arguing a la Thanos that half the population has to be wiped out by the monsters, only some of it, and that at the end of it all there will be new growth and the planet will be greener for it.  Come again? 

Of course, when this starts happening, the rest of Monarch and the U.S. military go ballistic, and they not only form an uncomfortable alliance to thwart Emma’s efforts, but they also call in Mark Russell to help them. Mark is mostly interested in finding and saving his daughter, and speaking of Madison, once she learns what her mom has planned, she changes her tune about which parent she wants to be spending time with.

Things grow more complicated when one of the monsters, King Ghidorah, is discovered to be from another planet, and he decides that he’s going to control and lead all the monsters in a battle against Godzilla for supremacy of the Earth.

Godzilla? That’s right! This is a Godzilla movie!  Funny how I haven’t mentioned him yet. Real funny. Not. Which is to say more Godzilla in this story and less elaborate saving-the-world-nonsense would have been most welcome.

Anyway, it’s up to Godzilla to take on King Ghidorah and ultimately save the world.

But as you may surmise from this plot summary, it’s a helluva convoluted way to tell a story about everyone’s favorite fire-breathing radioactive giant lizard!

Poor Godzilla. He was supposed to appear in this movie more than he did in the last one, the 2014 film, and while that may have been the case, it sure didn’t feel like it. For a movie that’s called GODZILLA: KING OF THE MONSTERS it sure seemed like he took a back seat to the other monsters in this one..

The best thing that GODZILLA: KING OF THE MONSTERS has going for it is its cast. It boasts a really strong cast of actors, led by its three principal leads.

Vera Farmiga as Dr. Emma Russell and Millie Bobby Brown as daughter Madison were both excellent. This is Millie Bobby Brown’s film debut. Brown, of course, plays Eleven on the hit TV series STRANGER THINGS (2016-19) so her effective performance in this movie is no surprise.

Vera Farmiga is one of my favorite actresses working today, and while her movie performances have all been superb, it’s her work on the TV series BATES MOTEL (2013-17) based on PSYCHO (1960) where she played Norma Bates that I think is among her best stuff. Her interpretation of Norma Bates was much more nuanced and three-dimensional than the character ever was before in both the Hitchcock movie and Robert Bloch’s original novel.

Kyle Chandler is always enjoyable in nearly every movie he’s in, and he’s been in a lot, from light fare like GAME NIGHT (2018) to more serious stuff like MANCHESTER BY THE SEA (2016) to small supporting roles like in THE WOLF OF WALL STREET (2013), Chandler always makes a lasting impression. His work here in GODZILLA: KING OF THE MONSTERS is no exception.

When these three actors are on-screen, the movie is at its best and most watchable, and the good news is they’re on screen a lot, but the problem is they are stuck in a ridiculous storyline and are often uttering some very superficial and god-awful dialogue that really detracts from the seriousness of their performances.

Incidentally, Kyle Chandler also appeared in Peter Jackson’s KING KONG (2005) which is not part of the current Warner Bros. giant monster universe, and he’s set to appear in the next film, GODZILLA VS. KONG.

The supporting cast is every bit as good as the three leads.

You have Ken Watanabe, Sally Hawkins (THE SHAPE OF WATER [2017]), Ziyi Zhang, and Bradley Whitford as fellow Monarch scientists. Watanabe and Hawkis are reprising their roles from the previous Godzilla movie, and in Watanabe’s case, he’s playing Dr. Serizawa, a name that goes back to the original GODZILLA film from 1954.

Bradley Whitford gets the liveliest lines in the movie, but strangely, his frequent attempts at humor seem to misfire repeatedly. Again, it’s that odd mix, and his campy lines seem out-of-place with the serious tone surrounding him.

David Strathairn plays Admiral William Stenz, another character back from the 2014 film, and Charles Dance does his villainous best at bad guy Jonah Alan, although at the end of the day the character is pretty much all talk and no action. In short, he does very little here.

The true villain is King Ghidorah, which brings us finally, to the monsters. After all, you don’t see a Godzilla film for the actors. You see it for the monsters. So, how do the monsters fare here?

Well, the main monsters here are Godzilla, King Ghidorah, Rodan, and Mothra, and while they are all given modern-day looks, I can’t say I was all that impressed. It sounds strange to say this, but with all our current CGI technology, I find that I prefer the old-fashioned man-in-suit monsters from Toho’s glory days. These monsters all look okay, but nothing about them I find special nor memorable.

In the Toho films, for better or for worse, the monsters, both good and bad, had personality. The monsters here have no personality. They are quite simply generic and not at all cinematic, which is a major knock against this movie, and quite frankly against the other Warner Bros. monster universe films. If the Marvel superheroes lacked similar charisma that series would have never gotten off the ground.

Also, I did not like the look of this movie at all. Most of the action takes place during various weather events and storms, and so it’s always difficult to see what the heck is going on. For example, the film’s climax takes place in Boston, and at Fenway Park specifically, and I have to say it’s one of the poorest and most fake looking interpretations of Boston I’ve ever seen in a movie. What could have been iconic and devastating is instead cartoonish and superficial.

GODZILLA: KING OF THE MONSTERS was directed by Michael Dougherty, and he also wrote the screenplay with some help from Zach Shields. This is the same creative team that gave us the horror movie KRAMPUS (2015), a film I actually liked quite a bit. In fact, I enjoyed KRAMPUS more than I enjoyed GODZILLA: KING OF THE MONSTERS.

Dougherty gives us plenty of monsters and monster battles, but since 1) the monsters didn’t look outstanding, and 2) the settings of these battles were often in storms and difficult to see, as presented here, the monsters’ presence didn’t really lift this one to great heights.

The screenplay is superficial at best. It never gives us real terror— real people are noticeably absent here—- other than the scientists and a few military types, we see no one else reacting to the monsters. The film lacks real world emotion big time.

While it attempts to be an homage to earlier films at times, like the use of the Oxygen Destroyer, a weapon from the 1954 GODZILLA, it does it all in a fleeting manner that never really gets to the heart of the matter.

Dougherty has a cast of seasoned and talented actors that make this movie better than it is,  but he doesn’t really help them out. They are in few cinematic scenes and more often than not are uttering lines of dialogue that are pretty bad.

So, where do I stand on GODZILLA: KING OF THE MONSTERS? For the most part, I did enjoy this movie, especially when watching Vera Farmiga, Millie Bobby Brown, and Kyle Chandler, but whenever Godzilla and his fellow monsters showed up, I would lose interest, and for a Godzilla movie, this is NOT a good thing.

The film is a mixed bag to be sure, and while I enjoyed it more than GODZILLA (2014), I still prefer the Toho films of old, from the 1950s, 60s, and 70s.  Now, Toho continued the Godzilla series into the 1980s, 1990s, and early 2000s, even making the critically acclaimed SHIN GODZILLA (2016), and while those films in general are okay—I like the aforementioned older ones more—, they’re about on par with this current Warner Bros. series.

The next film, GODZILLA VS. KONG, slated for release in 2020, is one that while I’m definitely interested in, based upon the Warner Bros. films so far, I can’t say I’m excited about.

So, GODZILLA: KING OF THE MONSTERS is okay, but since the best part about it is NOT Godzilla, I don’t think Godzilla himself would approve, and for me, that’s all you need to know about this one.

—-END—

 

 

 

 

 

 

 

 

IN THE SPOOKLIGHT: KING KONG ESCAPES (1967)

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This IN THE SPOOKIGHT column is a reprint from February 2007:

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Think of Japan’s Toho productions, and the first name that comes to mind is Godzilla, and rightly so, since Toho produced more than 25 movies starring everyone’s favorite giant mutated dinosaur.

However, Toho also made a couple of King Kong movies in the 1960s.  They made some Frankenstein films as well, but we won’t go there today.  Their second (and last) Kong film was KING KONG ESCAPES (1967), generally considered to be one of the worst Kong movies ever made, right up there  with KING KONG LIVES (1986).

My vote for the worst goes to KING KONG LIVES, and that’s because I have a soft spot in my heart for KING KONG ESCAPES.  Maybe it’s because KING KONG ESCAPES was the first Kong movie I ever saw. Or maybe, just maybe, it’s not that bad after all.

KING KONG ESCAPES borrows heavily from the 1960s James Bond craze.  There’s a supervillain, the evil Dr. Who, beautiful women, and a dashing hero, played by Rhodes Reason doing his best to impersonate Sean Connery.  What passes as a plot has Dr. Who building a robot Kong to dig up the precious “element X” which of course, once he has, he’ll be able to use to rule the world! (cue crazed evil laugh). When the robot Kong fails, Who captures the real Kong to do the work.  Of course, Kong isn’t interested.  He’s too busy falling in love with the young blonde lead in the movie, Susan, played by Linda Miller.

Unlike Fay Wray in the original, there’s no screaming here. Linda Miller’s character hardly seems frightened at all by Kong’s presence, and converses with him as if talking to her pet dog.  Better yet, Kong listens and understands everything she says!  Gone are the days when Kong tossed women who weren’t Fay Wray from New York buildings.  In KING KONG ESCAPES, Kong is clearly a hero and a gentleman— or is it a gentle-ape?

Still, he packs a punch when he needs to.  Japanese monster movies are famous for their giant monster battles, and on that front, KING KONG ESCAPES doesn’t disappoint.  Kong fights a dinosaur, a sea monster, and in a “colossal struggle of monster vs. robot” as the film’s original movie posters boasted, he takes on his duplicate, the giant Robot Kong, in an epic climactic battle, which is actually quite well done.

The special effects really aren’t that bad.  They’re on par with other Japanese monster movies of the decade, maybe even a bit better.  Kong looks silly, but his appearance is several notches above his previous Toho stint, in KING KONG VS. GODZILLA (1963), where he looked sort of ragged, as if he’d been pummeled a few times by co-star Godzilla before the cameras rolled.   And the Robot Kong is pretty cool looking.

KING KONG ESCAPES was directed by Ishiro Honda, who directed many of Toho’s better films, including the original GODZILLA, KING OF THE MONSTERS! in 1954.  The English version screenplay by William J. Keenan is extremely silly, with awful dialogue, but it doesn’t really matter.  What matters is Kong, and he gets plenty of screen time.

KING KONG ESCAPES doesn’t come close to either the original KING KONG (1933), or Peter Jackson’s 2005 remake.  It is not a great movie nor does it pretend to be.  The inept 1976 KING KONG with Jessica Lange, if you remember, compared itself to JAWS.

However, it is fun and entertaining, and in the world of monster movies, that’s often enough.  At the end of the day, Kong is still king, still roaring, still on top, even after KING KONG ESCAPES.

—END—

READY PLAYER ONE (2018) – Cinematic References Best Part of this Fantasy Tale

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I’m not a gamer. I don’t play video games, and I haven’t read the book  Ready Player One by Ernest Cline, and so my interest in seeing READY PLAYER ONE (2018) the new fantasy adventure by director Steven Spielberg, was purely for cinematic reasons.  That’s right. I saw this one simply because I wanted to see the movie.

So, as a movie, how does READY PLAYER ONE size up? Not bad.  For the most part, it’s a fairly entertaining two-plus hours at the movies, even if it’s telling a story that is about as compelling as a game of Donkey Kong.

The best part of READY PLAYER ONE is all the cultural cinematic references. After all, where else can you find King Kong, MechaGodzilla, and the Iron Giant all in the same movie?  Where else can you have your characters enter a world based on Kubrick’s THE SHINING (1980)?  The answer is READY PLAYER ONE! These and other references and nods [including to ALIEN (1979) and LOST IN SPACE (1965-68)]  are what kept me most interested in this movie, long after I lost interest in its story.

Wade Watts (Tye Sheridan) lives in 2045, a time when life is so hard people need to escape from reality, and they do so by entering the OASIS, a virtual reality world created by the brilliant James Halliday (Mark Rylance) where pretty much anything can happen. You can be whoever you want to be and do whatever it is you want to do. So, Wade plays in this video game world as a handsomer version of himself known as Parzival.

Halliday has since died, but he’s left a challenge to all the players in the OASIS: he has left three keys inside his virtual reality world, and the player who finds all three keys will unlock the game’s secret and become controller of the entire OASIS.  Wade and his friends make it their goal to do just that, but they’d better hurry because an evil company led by a man named Sorrento (Ben Mendelsohn) has other ideas.

And that’s the story.  This one’s certainly not going to win any awards for Best Screenplay, that’s for sure.

Visually READY PLAYER ONE is a lot of fun, and Spielberg keeps the action fast, bright, and playful.  I have no problem with this part of the movie.

The cast is okay, even though they don’t have a whole lot to work with. Tye Sheridan is decent enough in the lead role as Wade/Parzival, but the character as written in this movie is rather dull, and Sheridan doesn’t really bring this young man to life.  Both his parents have died, yet this grief barely resonates in the story.

Olivia Cooke fares better as Samantha, who becomes Wade’s best friend and eventual love interest.  Samantha is also a kick-ass character who is much more interesting than Wade.  I like Cooke a lot and have been a fan since I first saw her on the TV series BATES MOTEL (2013-17) and also in the Hammer horror movie THE QUIET ONES (2014).

Ben Mendelsohn plays the cardboard villain Sorrento who acts like he walked out of an old Scooby Doo cartoon.  Mendelsohn played a much more effective villain, Orson Krennic, in ROGUE ONE: A STAR WARS STORY (2016).

I did enjoy T.J. Miller as Sorrento’s henchman I-ROk, as he provides the film’s best bits of comic relief.  Miller was recently in DEADPOOL ((2016), but I always remember him as Hud, the frightened yet frequently hilarious guy behind the camera in CLOVERFIELD (2008).

Mark Rylance, either hidden under lots of hair or CGI effects in the OASIS, is quiet and unassuming as the gaming genius Halliday, but Simon Pegg as Halliday’s business partner Ogden Morrow is little more than an afterthought.  These two fine actors really don’t get a whole lot of chances to do much in this movie.

The screenplay by Zak Penn and Ernest Cline, who wrote the novel, is straightforward and pretty much tells a by-the-numbers plot.  Teens have to save the world from an evil meddling company while learning about the man who created their favorite game and about themselves as well.

At times, the film feels like a cross between TRON (1982) and WILLY WONKA AND THE CHOCOLATE FACTORY (1971). In fact, it’s been reported that Spielberg had approached Gene Wilder to play Halliday, before the iconic comedic actor passed away.  Its nonstop video game landscape is mixed with a syrupy sweet nostalgia tale that makes for lightweight fare, as opposed to a hard-hitting fantasy adventure.

There’s not a lot of memorable dialogue either. And the action scenes, while visually stunning, were pretty tame.

READY PLAYER ONE is chock-full of fun cinematic, video game, and cultural references, especially from the 1980s, and it’s a treat for the eyes, as it’s full of colorful alternate reality landscapes, but its story is meh and often falls flat.  For example, for nearly its entire 140 minute run time, we are immersed inside its virtual reality world, yet at the end, we are treated to a message that says the real world is still more important and interesting, which after all that came before it simply sounds hollow and forced.

READY PLAYER ONE is a colorful diversion if you have 140 minutes to spare.  If not, feel free to spend some time outside instead.  In the real world.

—END—

 

 

 

 

 

SHOCK SCENES: KING KONG APPEARS! (2017)

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I wrote the following column in 2015, in which we looked at King Kong’s entrance scenes in the various King Kong movies.  Well, here in 2017, we’ve just had another Kong movie, KONG:  SKULL ISLAND (2017).  And so, here’s an updated version of this column to include KONG:  SKULL ISLAND.

—Michael

 

SHOCK SCENES:  KING KONG APPEARS!king kong 1933 poster

By Michael Arruda

Welcome back to SHOCK SCENES, the column where we look at memorable scenes in horror movie history.

Up today is the big guy himself, King Kong.  With apologies to Godzilla, King Kong is the baddest monster on the planet.  Sure, Godzilla is known as the King of the Monsters, and he’s been in more movies than Kong, but Kong is King as well, and the one time they squared off in a movie, KING KONG VS. GODZILLA (1962), it was Kong who emerged victorious.

Today we’ll be focusing on King Kong’s entrance scenes, the scenes in his movies where he first makes his dramatic appearance.  We will concentrate mostly on the original KING KONG (1933) and its two remakes, but we will also look at the Japanese films and the awful KING KONG LIVES (1986).

KING KONG (1933) is the classic giant monster movie, one of the most exciting and well-made monster movies of all time.  It has aged remarkably well and still appeals to modern audiences.  The film is chock full of classic scenes, and Kong’s first entrance is no exception.

It starts when the Natives on Skull Island abduct Ann Darrow (Fay Wray) and bring her back to the island where they plan to offer her as a bride for Kong.  With Max Steiner’s memorable music blaring, the Natives lead Ann beyond the great wall where they tie her up so she can await the arrival of Kong.

With the beats of a gong, the Natives summon their king, and moments later, he arrives.  First we hear his roar— the special effects department used a lion’s roar played backwards and at a lower speed for this effect— and then as he knocks a tree over, Kong makes his appearance, and we see Willis O’Brien’s remarkable stop-motion animation effects as Kong breaks through the trees and descends upon Ann.

King Kong discovers Ann Darrow (Fay Wray) in KING KONG (1933)

King Kong discovers Ann Darrow (Fay Wray) in KING KONG (1933)

We then see a close-up of his monstrous face, which was in reality a huge model of his head built by O’Brien’s special effects team.

As first entrances go, it’s a classic.  It’s fun to imagine what it must have been like for movie audiences back in 1933 seeing Kong for the first time.  It must have been awesome and frightening.

The special effects here work so well.  To see Kong standing there, with Ann Darrow, with the great wall behind her and the Natives standing on top of the wall, and it all looking so real, is truly astonishing.

KING KONG VS. GODZILLA (1962) is a silly movie that is only notable for pitting these two legendary monsters together in one film.  Since Kong died at the end of the original KING KONG (1933) falling from the Empire State Building in probably the movie’s most enduring image, there really couldn’t be any sequels.  There was SON OF KONG (1933) which featured a younger cute and cuddly Kong Jr., but that was it.  There were plans for a Kong prequel of sorts, a story which would have taken place in the middle of the action in KING KONG, which would have been built around a storyline of the adventures of Carl Denham and the crew of the Venture on their way back to New York City with King Kong in tow on a raft, an adventure that would have seen Denham and company and Kong face off against a new threat, but that project never got off the ground.

Perhaps the worst looking Kong in KING KONG VS. GODZILLA.

Perhaps the worst looking Kong in KING KONG VS. GODZILLA.

So decades passed before Toho, the Japanese movie studio which brought Godzilla to the world, secured the rights for the Kong character and made KING KONG VS. GODZILLA.

Kong’s first entrance in KING KONG VS. GODZILLA isn’t memorable at all.  We hear his roar first, and then suddenly he’s there, showing up at the Natives’ village to fight off a giant octopus.  Toho always used the man-in-suit method to create their giant monsters, and their Kong suit in this movie has to be the worst looking King Kong of all time.

KING KONG ESCAPES (1967) is yet another silly Toho movie, supposedly made to tie-in with the 1960s animated TV series KING KONG.  It certainly plays like a Saturday morning cartoon, which is the complete opposite of the original KING KONG which was much more akin to the relentless ferocity of JAWS (1975).  That being said, I have to confess, I like both Toho King Kong movies.

Kong to the rescue in KING KONG ESCAPES.

Kong to the rescue in KING KONG ESCAPES.

Still, KING KONG ESCAPES has nothing to offer in terms of Kong’s first appearance.  On Kong’s island a dinosaur shows up and scares young Susan (Linda Miller).  When she screams, the camera cuts away to a close-up of Kong’s face.  His eyes are closed.  He opens them to reveal eyes that look like they belong on a Sesame Street Muppet.  We then see him sitting in a cave.  He quickly gets up and races to the scene to protect the young woman from the dinosaur.  What a gentleman!

KING KONG (1976) the incredibly hyped remake by producer Dino De Laurentiis was a box office bomb and panned by both fans and critics alike.  It’s a pretty bad movie, but in spite of this, surprisingly, it does enjoy a few fine moments.  Kong’s initial entrance is one of them.  In fact, it’s so good that I’d argue that of all Kong’s entrances, it might be the best!  It’s certainly the only part of this 1976 film that even comes close to equaling anything done in the 1933 original.

This time, it’s Jessica Lange who’s captured and tied up as the Natives summon Kong.  I actually love the way director John Guillermin conceived this sequence.  We see trees being knocked over from Kong’s point of view, and we first see Kong through close-ups of his face, and it’s the best most authentic looking face to date, thanks to the incredible make-up of Rick Baker.  We see Kong’s eyes as he marches through the trees towards Jessica Lange.  Close-up, Kong looks as menacing as he’s ever looked on film.  It’s a thrilling sequence, probably the most original and thrilling part of this 1976 flick.

Kong's looking mighty ferocious in the 1976 KING KONG.

Kong’s looking mighty ferocious in the 1976 KING KONG.

It’s also helped along by John Barry’s music score, which as a whole, I don’t like at all.  But in this scene, it’s probably Barry’s best moment.

At this moment in the movie, the film truly captures the awe of King Kong.  The build-up—audiences hadn’t seen a serious Kong since the 1933 original, the anticipation, is wonderfully captured in this sequence.  And when the camera pulls back, and we see Kong’s entire body for the first time, Rick Baker in his ape suit, he’s awesome to behold, and when he roars, the film nails King Kong at this moment perhaps more effectively than any other moment in any other King Kong movie.

And then— it’s all downhill from there.

It’s amazing how quickly and how far this movie falls after this scene, which is the story for another article.   A lot of it is the silly script, but most of it is the special effects which to me has always been the main reason this 1976 film failed.  Rick Baker’s ape suit looks fine, and in terms of how he looks, he blows the Toho Kongs out of the water, but at the end of the day, it’s still a man-in-a-suit which has never ever been a completely satisfying way to make a giant monster.  The hype for the 1976 KING KONG was all about the giant mechanical robot of Kong that was built and was supposed to be the main special effect in this film, but a not-so-funny thing happened:  it never worked. It appears in two brief scenes in this film for a mere few seconds.

But Kong’s first entrance in this 1976 film— priceless.

 

KING KONG LIVES! (1986) is the horrible sequel to KING KONG (1976) that is believe it or not even worse than the 1976 film.  In this one, scientists bring Kong back to life after his fall from the World Trade Center so the first time we see Kong in this one he’s a patient in a laboratory.  Not very exciting.  Neither is this movie.

Kong the patient in KING KONG LIVES.

Kong the patient in KING KONG LIVES.

 

 

 

 

 

 

 

KING KONG (2005) is Peter Jackson’s homage to the 1933 original.  Jackson’s obviously a fan of the original Kong, and this was clearly a labor of love, but strangely, it’s a very uneven movie.  The scenes on Skull Island are exceptional and make this one worth watching for these scenes alone, but surrounding these scenes is a dull opening in New York City, and the climax which also takes place in New York also doesn’t really work.  Kong and Ann share a romantic moment in Central Park?  Seriously?

Now while I love the Skull Island scenes, I’m not so hot on Kong’s first entrance.  Why?  Because it’s oddly all very undramatic!  It’s Naomi Watts who’s abducted for Kong this time, and when Kong appears, he just sort of shows up, coming out of the jungle swinging his arms and roaring.  It’s nothing we haven’t seen before, and it plays much closer to the mundane first appearances in the Toho movies than the well-crafted and dramatic entrances in the 1933 and 1976 versions, making it yet another contribution to the reasons why the 2005 version is an uneven movie.

Kong looks impressive in the 2005 Peter Jackson KING KONG, but film is uneven.

Kong looks impressive in the 2005 Peter Jackson KING KONG, but film is uneven.

 

 

 

 

 

 

 

 

KONG:  SKULL ISLAND (2017) was just released a week ago, and while many fans are instantly calling this the best Kong flm since the 1933 original, I was only lukewarm on it.  I found the script rather stupid, the characters dull and not developed to any degree of satisfaction, and Kong himself, while looking fine, rather boring.

Kong in this movie is probably the least satisfying Kong in any of the movies for the simple reason he has zero personality.  In the other movies, Kong showed a wide range of emotions, from anger to rage to ferocity to even tenderness, but here, he’s just a slow moving enormous creature who fights monsters and humans.  Blah.

There are actually two entrance scenes here for Kong.  The first is a teaser, in the opening moments of the film, which takes place during World War II.  Both an American and Japanese pilot crash land on Skull Island, and they quickly become involved in hand to hand combat, when suddenly King Kong appears.  We see his giant hand, and they see him.

Kong’s official first appearance comes later in the movie, which now takes place in 1973, as military helicopters carrying the scientific expedition to Skull Island suddenly encounter Kong who introduces himself to the copters by hurling trees at them.

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Kong battles helicopters in KONG:  SKULL ISLAND (2017)

This scene had the potential to be awesome, but the full effect of this first entrance is never as cinematic as it should have been.  Director Jordan Vogt-Roberts seemed satisfied to film this as a routine war scene as opposed to a larger-than-life Kong-makes-his-first-appearance scene.  Too bad.

Like the entire movie, Kong’s first entrance in KONG: SKULL ISLAND falls short of expectations and never rises above standard giant monster fare.

 

You can’t really argue that any other Kong movie is actually better than the 1933 original KING KONG.  It simply hasn’t been surpassed yet.

However, I can and will argue that in terms of first appearances, if any other film challenges Kong’s first entrance, surprisingly, it’s the 1976 version of KING KONG that does this.  Director John Guillermin pulls out all stops and creates an impressive and thrilling first Kong scene, combined with John Barry’s effective music—the only moment in the film where his music works—, as well as Rick Baker’s amazing make-up, makes this moment as good as Kong’s opening moment in the 1933 film, and way better than similar scenes in any of the other Kong movies, which is saying something, since the rest of the 1976 film is so bad.

So there you have it.  A look at King Kong’s first entrances in the KING KONG movies.

Hope you enjoyed today’s SHOCK SCENES.  I’ll see you again next time when I look at more classic scenes from other classic horror movies.

Thanks for reading!

—Michael

Books by Michael Arruda:

TIME FRAME,  science fiction novel by Michael Arruda.  

Ebook version:  $2.99. Available at http://www.neconebooks.com. Print version:  $18.00.  Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.

IN THE SPOOKLIGHT, movie review collection by Michael Arruda.

InTheSpooklight_NewText

 Ebook version:  $4.99.  Available at http://www.neconebooks.com.  Print version:  $18.00.  Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.

FOR THE LOVE OF HORROR, short story collection by Michael Arruda.  

For The Love Of Horror cover

Ebook version:  $4.99.  Available at http://www.neconebooks.com. Print version:  $18.00.  Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.