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Carlo Rambaldi

Review: King Kong (1976)

[Originally published in Movietone News 53, January 1977]

There are good things and bad things about the new King Kong. One of the good things is that it’s nice to look at. Though the photography and production design are scarcely more interesting than those of the 1933 film, they are on an epic scale, impressive and economic, using widescreen and color to more purpose than merely out-spectacle-ing the original. The designers have retained much of the architecture in the island sequence, especially the bridal altar and the huge gate with phallic bolt, and they were wise to do so. They were equally wise to avoid the dinosaur encounters of the 1933 film, for which Willis O’Brien’s model animation was perfect. In the new version the only attempts at model work come off as distressingly poor: the huge rubber snake against which Kong battles while zoologist Jack Prescott stages his daring, pure Frank Frazetta pulp rescue of a bare-breasted Dwan from the ape’s mountain lair; and its parallel sequence in New York, Kong’s battle with a toy-sized El that, in his hand, visibly does not contain the panic-stricken passengers we see at the windows in the intercut interior shots.

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