El hijo de Kong

If I hazarded a guess, I would say that Son Of Kong came about because David O. Selznick had a lot of leftover footage from the first film and that footage from King Kong did not go to waste when King Kong became the enormous hit it was. This was a sequel that almost demanded to be made.

Labor Day back in New York during my childhood could have been nicknamed Ape Day because inevitably WOR television which was the RKO station ran King Kong, Son Of Kong and Mighty Joe Young. The King, his offspring and Terry Moore's pet entertained a whole new generation of kids for years on that day.

After all the damage that King Kong wreaked upon New York and with everybody and his mother suing Robert Armstrong all the poor guy wants to do is get away from everything, especially process servers. He boards a tramp steamer back to the South Seas from whence he got King Kong. Along with him is Helen Mack who also has reasons to skip out of civilization.

They come upon Frank Reicher the captain who took them to King Kong's island along with John Marston. Interestingly enough the best part of the film is the mutiny led by Ed Brady and John Marston who understandably don't want any part of that island any more. Why this became such an issue for a proletarian uprising is beyond me, still I always get a great sense of satisfaction when the proletariat seaman decide they don't want a captain whether its Reicher or Marston and cast him adrift with the rest of the stranded castaways. It's one of the best examples of defending anarchism I've ever seen on the screen.

Of course on the island Armstrong, Mack and the rest meet up with a discontented native population who say things have gone to pot since their deity King Kong was taken away. Armstrong meets up with a 12 foot offspring of the 50 foot father and he bonds with the baby Kong. I've often wondered where Mama Kong was in all of this.

Anyway RKO made sure there would be no future Kong sequels, but for those who have never seen this film I'm not saying how. Even after over 70 years, King Kong and The Son Of Kong still have the power to entertain. These films will never date.

Son of Kong certainly is NOT in the same class as its predecessor King Kong. It lacks that film's inventiveness, creativity, dark mood, and overall horror, yet it is a fine film in its own right. Where King Kong was horrific, Son is charming. It never really takes itself quite as serious as Carl Denham and the captain from the first film leave New York for fear of lawsuits. They end up back on Skull Island with a cute stowaway(played convincingly by Helen Mack), the ship's cook(Victor Wong) and an unscrupulous captain. The better part of the film is the interaction with Robert Armstrong(as Denham again) and Mack with the pint-sized(in comparison to his daddy) Kong. Again we are given natives(briefly) and prehistoric creatures. Baby Kong is adorable and shows how he and his father were thinking creatures as opposed to the mechanical killing of giant reptiles. A nice little film!

It's one month after the King Kong fiasco and Carl Denham can't get a break from the relentless stream of reporters and lawsuits hounding him. Kong might have caused a lot of damage and killed a few people, but don't you think that Denham is awfully sorry about it all? And was it really his fault that the chains weren't strong enough? Well, actually it was, and with a grand jury about to rule against him, Denham decides it's time for a long ocean voyage.

Poor Denham must've done something to insult Poseidon, though, because no matter how much he wants to avoid it, he gets blown right back to Skull Island. This time he's looking for a treasure, but when the ungrateful natives force him to land on a remote part of the island, he immediately stumbles upon the orphaned Son of Kong. He knows this because of the obvious family resemblance. We never do find out what happened to Mrs. Kong.

The original was the greatest special effects film ever made, and for reasons more than just the outstanding effects. Any attempt to duplicate this, particularly in a quickly made sequel, could not possibly have come close and would have been nothing more than a shameless attempt to make some quick cash. In other words, a typical Hollywood sequel. The creators of Son wisely do not make this attempt. Instead, using the original's subtle satire of the film industry as its starting point, "Son of Kong" becomes a broad parody of Hollywood movies in general and of the original "King Kong" itself.

At one hour and 10 minutes, this movie is exactly the right length of time. No gag or idea is drawn out for even a moment longer than it is capable of sustaining. The special effects are still excellent, but are now secondary to the antics of the characters, including the comic mugging of Kong Jr. himself. Make no doubt about it, this film is no "King Kong" - but it's not a typical Hollywood sequel either.

Kong's small son stars in a small movie. Its greatest assets are its amusing effects sequences designed by the legendary Willis O'Brien and the vibrant playing of its female star, Helen Mack, who admirably succeeds Fay Wray in the series. Only the wooden Armstrong has returned from the Kong Sr. cast (as far as I know).

This one aims more for laughs than thrills, correctly assuming that audiences fully exposed (already) to Kong's menace could only be affected in a diminished degree if they had tried to follow similar lines in the sequel. Thus, it is more similar to the director's (and O'Brien's) later collaboration with John Ford, "The Mighty Joe Young", but it's not as charming or fun as "Young".

Of the films in what I like to call the Great Ape Trilogy ("King Kong," "The Son of Kong" and "Mighty Joe Young"), this is my pet favorite. I loved "The Son of Kong" as a kid but hadn't seen it in years until I rented it recently from my local public library. Was it as good as I remembered? No -- it was even better!

This movie generally gets a bad rap, and I admit that some of the criticisms are valid: It was rushed, it can't compete with "King Kong" in terms of spectacle or horror, it's a light dessert after a steak dinner. Because it's a sequel, it is fair to compare it to the original, and in some respects the comparisons are unfavorable. It's not exactly "Bride of Frankenstein" or "The Godfather Part II." But it's a wonderful film in its own right.

The best thing about "The Son of Kong" is that it makes perfect sense. Carl Denham (played, as in the original, by Robert Armstrong) is being sued by practically everyone in New York for the death and destruction caused by King Kong. That's exactly what would happen, not just in 1933, but especially today, which gives this old movie an unexpected freshness. Also, because of severe budgetary and time restrictions, the filmmakers knew they couldn't make another spectacle, so they wisely went in the other direction. The result is a smaller and far more lighthearted film whose titular character is a charming innocent who acts exactly the way a young ape would act. He's curious, he's playful and he's friendly, but he's also suitably ferocious when attacked or when protecting his human friends, as a watchdog pup would be.

There's also a sweetness and compassion about this film, not only in the kindly attitude toward animals, Little Kong in particular, but in the relationship between the remorseful Denham and the lonely Hilda, touchingly played by Helen Mack, a beautiful and underrated actress who gives what I think is the best performance in the picture.

"The Son of Kong" is wonderfully atmospheric, mainly in the scenes on Skull Island but also in those in Dakang and aboard the Venture. Considering they were so rushed to finish the film, the animators and technicians did a superb job, especially the great Willis O'Brien, who reportedly didn't like the final product. That's too bad, because he did some of his best work on this movie, as evidenced by Little Kong's alternately thrilling and amusing fight with a giant cave bear, by the cataclysmic storm and earthquake that rock the island, and by some of the small touches that set O'Brien apart from everyone else in his field. Kudos also go to Max Steiner, whose musical score is almost as good as it was in "King Kong."

Then there's the humor, which is delightful, contrasting nicely with the darker and sadder aspects of the film. It's provided primarily by Mickey the process server (played impishly by Lee Kohlmar) and, of course, by Little Kong himself. Yes, it's slightly overdone a couple of times, as when Little Kong scratches his head and anthropomorphically shrugs in a display of confusion, but overall it's a welcome and essential element.

In addition to Robert Armstrong and Helen Mack, the actors play their parts well. Frank Reicher (returning as Capt. Englehorn), Victor Wong (back in an expanded role as Charlie the cook, whom he plays with dignity and a certain twinkle), John Marston (marvelously slimy as the villainous Helstrom) and Ed Brady (as a surly mutineer) round out a good cast.

Ruth Rose's script is witty, gritty and realistic. It has been criticized for borrowing, clichés and all, from plenty of timeworn tales, but I don't care. For me, it works. And the finale can mist the eyes of even the strongest man.

All in all, "The Son of Kong" is a terrific, if brief (only an hour and 10 minutes), adventure. It's also a love story, as well as a tale of heroic sacrifice and ultimate redemption. I'm happy to say that one of my favorite childhood movies is now one of my favorite adulthood films, too. Here's looking at you, kid.