King Kong - Il gigante della foresta

It would seem that the Eight Wonder of the World isn't just popular in America. After clashing with his biggest rival Godzilla, the big ape made another appearance in Toho Co.'s long line of kaiju films. Originally, King Kong was supposed to star in a film where he does battle with the sea monster Ebirah, but was ultimately replaced by Godzilla and the resulting film was "Godzilla vs the Sea Monster". However, at the time there was a Kong TV series, so Toho decided to loosely adapt that into film instead. The result was a fun kaiju thrill ride that is known to this day as "King Kong Escapes".

Plot: Somewhere in the North Pole lies a secret base, where lurks the nefarious criminal mastermind Doctor Hu (spelled Who in America, not to be confused with the TV show of the same name). Under the employment of the mysterious Madame X aka Madame Piranha, he builds a robotic version of King Kong to harvest a highly radioactive material called Element X. When Mechani-Kong proves less than reliable, Doctor Hu goes to the prehistoric jungles of Mondo Island to kidnap the real Kong to harvest the Element X. However, the great ape escapes (get it?) and with the help of his newfound human companions who discovered him on the island, King Kong does battle with his robot double in a giant-sized fight to the death in the heart of Tokyo.

This movie is cheesy and the acting is on par with the Adam West "Batman" series, but that's why I like it. The human characters stand out at least and have distinct personalities, from the level-headed Commander Carl Nelson, his trusted companion Jiro, and the beautiful Susan (Kong's love interest). Doctor Hu is a fun villain, over-the-top and being delightfully despicable (even if he has some ugliest bottom teeth in history). The effects are the standard guys-in-suits and miniature sets that are to be expected by Toho and, for the most part, they look good. The music by Akira Ifukube is also nice, great to hear and adding to the thrills and great action scenes throughout the film.

Now for the monster roll call! Kong looks kinda silly, looking a little more like Donkey Kong without the bow tie, but he definitely looks better than his appearance in "King Kong vs Godzilla". The filmmakers at least got his gorilla proportions right and he can still show emotion and character. He has the same roar as before too, which itself is cool. Now, a robot version of the ape might sound ridiculous (and it is), but Mechani-Kong is a good nemesis for his flesh-and-blood counterpart. If it weren't for Mechani-Kong, there wouldn't be a Mechagodzilla, so props to this movie. The mighty dinosaur Gorosaurus makes his first appearance in this film, putting up a good fight against King Kong, a homage to the original 1933 version. Gorosaurus would later have a role as Godzilla's ally in the hit kaiju classic "Destroy All Monsters" and gain a small bit of fame. I guess prehistoric reptiles gotta stick together, especially with those dang dirty apes around!

King Kong Escapes is an unforgettable kaiju film that definitely surpasses the dreadful "King Kong Lives" any day by a mile. It's full of nice characters, cool monster battles, fun cheesy effects, a memorable score, and a silly story too good to resist. Even if you're not a kaiju fan or a Kong fan for that matter, definitely check this one out for at least a few good laughs and thrills.

This is the second film to feature the "Toho Kong". This film features plenty of action and is pretty much a copy of the original Kong (especially the scene where Kong and his Mecha double climb Tokyo Tower a la the Empire State Building). The big difference is that the girl isn't scared of Kong like Fay Wray was (note, there is no evidence that proves that this Linda Miller is Jackie Gleason's daughter. By all accounts she was a teen-aged model living in Japan at the time who was cast in this film.). Despite the fact that the film lifts several elements from the original, it stands on its own as a pure escapist fun.

Kaiju fans like me always know well enough to check our desire for (a) believable dialogue and (b) completely realistic special effects at the door when we settle ourselves down to watch what Japan has specialized in for five decades now. As quality filmmaking, King Kong Escapes is of course laughably bad, especially to those who deify the 1933 original. But in the context of Japanese giant monster kaiju, King Kong Escapes is one of the better entries to be found, coming in the 1960s when the focus was less tounge in cheek, more action-oriented, and free of the kiddie thrust that REALLY made Japanese monster movies annoyingly bad in the 1970s (Gamera sequels and Godzilla vs. Gigan anyone?). In a ways, after the dark,brooding seriousness of the original "Godzilla" in 1954, the 1960s saw movies more in the Armageddon-Mummy vein of action, special effects and empty-headed scripts. And while those weaned on GCI will find this hard to believe, the work of Eiji Tsuburaya was considered top of the line for its day (when you stop to think of it, how different are the SFX of Japanese monster movies all that different from American movies, pre-2001: A Space Odyssey? Not much really). And truth be told, I find these kaiju movies of the 60s to have a lot more charm than their 90s American counterparts like "Armageddon" or the Tri-Star "Godzilla."

Eisei Ammamoto, a veteran of Japanese sci-fi, deliciously chews the scenery as the villainous "Dr. Who" while Bond girl veteran Mie Hama ("You Only Live Twice") provides lovely visual distraction as "Madame X", and is far more appealing than the bland non-actress Linda Miller (badly dubbed by cartoon voice Julie Bennett who also dubs Hama!) as the object of Kong's affection (and let's set the record straight, this is NOT the woman of the same name who is Jackie Gleason's daughter, no matter what the erroneous IMDB data base says). The most amusing part of the script is how they almost seemingly plagiarized from "Voyage To The Bottom Of The Sea" in their basic premise (a sub commander named Nelson for goodness sake!). No matter though. Bad dubbing, lame script notwithstanding, "King Kong Escapes" is pleasantly mind-numbing fun from the peak period of kaiju cinema.

Incidentally, I'm glad to note that Rhodes Reason, who by his own admission "knew the film was lousy but couldn't pass up the trip to Japan" to make it, was able to overcome this in the long-run and earn better notices as Daddy Warbucks in numerous Broadway productions of "Annie."

I've seen this film a number of times growing up. Most recently in '94. I can't wait to see it again! I loved it. Loved it all. The bad guy was scary when I was young but was down right hip when I saw it when I was older. The characters were pretty much weak and the story was weak but when "Kong" gets mad and starts kicking butt; I just enjoy the ride. I don't recommend this as a "feel good" movie. Nor is it a "cinema experience" of note. It is entertaining and fun if you're a "Kong" fan like me. The props and costumes are old school and cheap! Brings back all sorts of fun memories. The soundtrack was also cool too. Excellent inspiration for aspiring Avant-Garde types. I loved this film!

I had to move this review over from "Kingu Kongu tai Gojira." Hard to keep the Japanese movies straight when the same monsters keep reappearing. I saw this one under the title "King Kong versus Doctor Who" (that's this one, right?) and cheap though the movie was-- and evidently completely unrelated to the famous Doctor Who of British TV-- I was impressed that Kong and his karma are faithfully characterized in a new story. The writers here understand that the thing about Kong is how his power makes him attractive to ignoble exploiters who, although he could crush them with a finger, have technology and craftiness that level the playing field for them against Kong, more or less. The "more or less" is where the tension of the story comes from. That and the second thoughts about whether civilization is using its dominion over nature wisely. In the original movie Kong was exploited by humans for entertainment; here he is exploited for labor and finds himself in the role of a John Henry whose strength is matched against that of his mechanical counterpart. The symbolism of the original film is not violated but only enriched.