King Kong 1933 Film full HD movie download free with screenpaly story, dialogue LYRICS and STAR Cast

In New York Harbor, filmmaker Carl Denham, famous for making wildlife films in remote and exotic locations, charters Captain Englehorn's ship, the Venture, for his new project. However, he is unable to secure an actress for a female role he has been reluctant to disclose. Searching in the streets of New York City, he finds Ann Darrow and promises her the adventure of a lifetime. The crew boards the Venture and sets off, during which the ship's first mate Jack Driscoll, falls in love with Ann.

Denham reveals to the crew that their destination is in fact Skull Island, an uncharted territory. He alludes to a monstrous creature named Kong, rumored to dwell on the island. The crew arrives and anchor offshore. They encounter a native village, separated from the rest of the island by an ancient stone wall. They witness a group of natives preparing to sacrifice a young woman termed the "bride of Kong". The intruders are spotted and the native chief stops the ceremony. When he sees Ann, he offers to trade six of his tribal women for the "golden woman". They rebuff him and return to the Venture.

That night, natives kidnap Ann from the ship and take her to their altar, where she is offered to Kong, an enormous gorilla-like creature. Kong carries Ann into the wilderness as Denham, Driscoll and some volunteers enter the jungle in hopes of rescuing her. They are ambushed by another giant creature, a Stegosaurus, which they manage to defeat. After facing a Brontosaurus and Kong himself, Driscoll and Denham are the only survivors.

A Tyrannosaurus attacks Ann and Kong, but he kills it in the battle. Meanwhile, Driscoll continues to follow them, while Denham returns to the village for more men. Upon arriving in Kong's lair, Ann is menaced by a snake-like Elasmosaurus, which Kong also kills. While Kong is distracted killing a Pteranodon that tried to fly away with Ann, Driscoll reaches her and they climb down a vine dangling from a cliff ledge. When Kong notices and starts pulling them back up, the two fall unharmed. They run through the jungle and back to the village, where Denham, Englehorn, and the surviving crewmen are waiting. Kong, following, breaks open the gate and relentlessly rampages through the village. Onshore, Denham, now determined to bring Kong back alive, knocks him unconscious with a gas bomb.

Shackled in chains, Kong is taken to New York City and presented to a Broadway theatre audience as "Kong, the Eighth Wonder of the World". Ann and Jack are brought on stage to join him, surrounded by a group of press photographers. Kong, believing that the ensuing flash photography is an attack, breaks loose. The audience flees in horror. Ann is whisked away to a hotel room on a high floor, but Kong, scaling the building, soon finds her. His hand smashes through the hotel room window, immobilizing Jack, and abducts Ann again. Kong rampages through the city. He wrecks a crowded elevated train and then climbs the Empire State Building. At its top, he is attacked by four airplanes. Kong destroys one, but finally succumbs to their gunfire. He ensures Ann's safety before falling to his death. Ann and Jack are reunited. Denham arrives and pushes through a crowd surrounding Kong's corpse in the street. When a policeman remarks that the planes got him, Denham tells him, "No, it wasn't the airplanes. It was Beauty killed the Beast".

Before King Kong entered production, a long tradition of jungle films existed, and, whether drama or documentary, such films (for example Stark Mad) generally adhered to a narrative pattern that followed an explorer or scientist into the jungle to test a theory only to discover some monstrous aberration in the undergrowth. In these films, scientific knowledge could be subverted at any time, and it was this that provided the genre with its vitality, appeal, and endurance.

In the early 20th century, few zoos had primate exhibits so there was popular demand to see them on film. At the turn of the 20th century, the Lumière Brothers sent film documentarians to places westerners had never seen, and Georges Méliès utilized trick photography in film fantasies that prefigured that in King Kong. Jungle films were launched in the United States in 1913 with Beasts in the Jungle, and the film's popularity spawned similar pictures such as Tarzan of the Apes,. In 1925, The Lost World made movie history with special effects by Willis O'Brien and a crew that later would work on King Kong. King Kong producer Ernest B. Schoedsack had earlier monkey experience directing Chang: A Drama of the Wilderness in 1927 (also with Merian C. Cooper) and Rango in 1931, both of which prominently featured monkeys in authentic jungle settings. Capitalizing on this trend, Congo Pictures released the hoax documentary Ingagi in 1930, advertising the film as "an authentic incontestable celluloid document showing the sacrifice of a living woman to mammoth gorillas." Ingagi is now widely recognized as a racial exploitation film as it implicitly depicted black women having sex with gorillas, and baby offspring that looked more ape than human. The film was an immediate hit, and by some estimates it was one of the highest-grossing films of the 1930s at over $4 million. Although Cooper never listed Ingagi among his influences for King Kong, it has long been held that RKO green-lit Kong because of the bottom-line example of Ingagi and the formula that "gorillas plus sexy women in peril equals enormous profits".

Concept

Merian C. Cooper's fascination with gorillas began with his boyhood reading of Paul Du Chaillu's Explorations and Adventures in Equatorial Africa (1861) and was furthered in 1929 by studying a tribe of baboons in Africa while filming The Four Feathers. After reading W. Douglas Burden's The Dragon Lizards of Komodo, he fashioned a scenario depicting African gorillas battling Komodo dragons intercut with artificial stand-ins for joint shots. He then narrowed the dramatis personae to one ferocious, lizard-battling gorilla (rather than a group) and included a lone woman on expedition to appease those critics who belabored him for neglecting romance in his films. A remote island would be the setting and the gorilla would be dealt a spectacular death in New York City.

Cooper took his concept to Paramount Studios in the first years of the Great Depression but executives shied away from a project that sent film crews on costly shoots to Africa and Komodo. In 1931, David O. Selznick brought Cooper to RKO as his executive assistant and promised him he could make his own films. Cooper began immediately developing The Most Dangerous Game, and hired Ernest B. Schoedsack to direct. A huge jungle stage set was built, with Robert Armstrong and Fay Wray as the stars. Once the film was underway, Cooper turned his attention to the studio's big-budget-out-of-control fantasy, Creation, a project with stop motion animator Willis O'Brien about a group of travelers shipwrecked on an island of dinosaurs.

When Cooper screened O'Brien's stop-motion Creation footage, he was unimpressed, but realized he could economically make his gorilla picture by scrapping the Komodo dragons and costly location shoots for O'Brien's animated dinosaurs and the studio's existing jungle set. It was at this time Cooper probably cast his gorilla as a giant named Kong, and planned to have him die at the Empire State Building. The RKO board was wary about the project, but gave its approval after Cooper organized a presentation with Wray, Armstrong, and Cabot, and O'Brien's model dinosaurs. In his executive capacity, Cooper ordered the Creation production shelved, and put its crew to work on Kong.

Script

Cooper assigned recently hired RKO screenwriter and best-selling British mystery/adventure writer Edgar Wallace the job of writing a screenplay and a novel based on his gorilla fantasy. Cooper understood the commercial appeal of Wallace's name and planned to publicize the film as being "based on the novel by Edgar Wallace". Wallace conferred with Cooper and O'Brien (who contributed, among other things, the "Ann's dress" scene) and began work on January 1, 1932. He completed a rough draft called The Beast on January 5, 1932. Cooper thought the draft needed considerable work but Wallace died on February 10, 1932, just after beginning revisions. Despite not using any of the draft in the final production beyond the previously agreed upon plot outline, Cooper gave a screen credit to Wallace as he had promised it as a producer.

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. His Shirley became Ann Darrow and her lover-convict John became Jack Driscoll. The 'beauty and the beast' angle was first developed at this time. Kong's escape was switched from Madison Square Garden to Yankee Stadium and (finally) to a Broadway theater. 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. When Creelman returned to t