The Great Buddha Arrival (1934), dir. Yoshiro Edamasa, Giant Buddha Movie Factory
We end our lookback at giant monsters with what may very well be the first giant monster from Japan, or at least the earliest one on record.
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The Great Buddha Arrival (1934), dir. Yoshiro Edamasa, Giant Buddha Movie Factory
We end our lookback at giant monsters with what may very well be the first giant monster from Japan, or at least the earliest one on record.
The Lost World (1925), dir. Harry O. Hoyt, First National Pictures
Geoges Melies may have set the standard for special effects, but Willis O'Brien raised the bar and here we see the results.
Mighty Joe Young (1949), dirs. Merian C. Cooper/Ernest B. Schoedsack, RKO Radio Pictures
The giant monster craze really hadn't kicked off proper yet, at least not in the United States. The old master, Willis O'Brien, was still going but there was a new kid on the stop motion block-Ray Harryhausen. This film would be the only where the two men ever worked together.
Son of Kong (1933), dir. Ernest B. Schoedsack, RKO Radio Pictures
A cash in? A quickly rushed into production sequel? Why not both?
King Kong (1933), dirs. Merian C. Cooper/Ernest B. Schoedsack, RKO Radio Pictures
Still with Fay Wray, but we're also transitioning to another feature, that of the kaiju or giant monster. This wasn't the first but brother did it set the standard for the next twenty years.
Mystery of the Wax Museum (1933), dir. Michael Curtiz, Warner Bros. Vitaphone
Fay Wray's career was still going along and this point she was pretty much the de facto scream queen of Hollywood, even if the term wasn't used yet.
The Most Dangerous Game (1932), dir. Ernest B. Schoedsack/Irving Pichel, RKO Radio Pictures
RKO already had the sets for King Kong built, so why not shoot another film at the same time? And why not use Richard Connell's short story?