The Most Dangerous Game (1932) - Complete Motion Picture Included
Director: Irving Pichel & Ernest B. Schoedsack
Writer: James Ashmore Creelman
Starring: Fay Wray, Joel McCrea, Leslie Banks, Robert Armstrong, Noble Johnson
“I was thinking of the inconsistency of civilization. The beast of the jungle, killing just for his existence, is called savage. The man, killing just for sport, is called civilized. It's a bit inconsistent, isn't it?” - Doc
The Most Dangerous Game is vintage must see, an essential component for those who appreciate the fundamentals of cinema history and evolution. Based on author Richard Connell’s short story it’s abundant in themes and scenarios that have served as a blueprint for an entire genre ever since. Beyond that its place in the pantheon of moving pictures is assured by being shot simultaneously with the original King Kong using much of the same cast, crew and sets.
Directed by Irvin Pichel (Santa Fe, She) and Ernest B. Schoedsack (King Kong, Mighty Joe Young), adapted for the screen by James Ashmore Creelman (King Kong, The Last Days of PompeiiKing Kong) and Joel McCrea (Ride the High Country, The Virginian). The plot is simple and effective.
A ship occupied by adventurous souls enters treacherous waters and sinks. The lone survivor is Bob Rainsford (Joel McCrea), a great white hunter from New York who struggles to the shore of a deserted Caribbean Island.
Discovers that he’s not alone, Rainsford staggers towards a misplaced castle occupied by Russian Aristocrat General Zarkoff (Leslie Banks) and Ivan (Noble Johnson) his deaf mute henchman.
Entering the isolated chateau Bob meets drunken Martin (Robert Armstrong) and anxious Eve (Fay Wray), a pair of castaways stranded from an earlier shipwreck. While Martin imbibes in his unbalanced host’s gracious hospitality, Eve suspects foul play.
Unsettled despite the luxurious surroundings the truth of their keeper’s sinister intentions will bring a deadly struggle for survival. Obsessed with the pursuit of prey Zarkoff is searching for an adversary more challenging than wildlife. Now he quenches his primal blood lust stalking the most dangerous game of all, man.
John Doe says:
Reentering the public conciousness when referenced in David Fincher’s story of the Zodiac killer, The Most Dangerous Game is exciting and thoughtful. Clocking in at just over 60 minutes, not a moment is wasted nor a minute more required for the films realization of intentions and goals. Targeted on the destructive nature of Homosapien desires and our unique affinity to murder for pleasure, the film makes a powerful point about mistreatment of the animal kingdom and the illusion of civilization.
Comfortably paced and avoiding quaintness, perhaps slightly limited by the simplicity of its time the jungle adventure atmosphere still snares the audience. There are some violent concepts that surely shocked upon original release. For instance, the head in a jar makes a statement about meaningless trophies.
The venomous black and white cinematography and sheathed lighting substitute rollicking escapism with something more menacing. Sure it works as light entertainment, but lurking in the shadows of subtext is a panther eying fresh meat.
Requiring little script exposition the archetypal 1930’s characters are easily understood letting James Ashmore Creelman hone their purpose in the narrative. The basic storytelling giving modern audiences time to reflect on every nuance and unearth universal truths that may never change.
Performed with the theatrics of the era, Joel McRea made a career out of playing stoic heroes and Fay Wray the damsel in distress. The film is a great example of their iconic work. The macho posturing of Bob and the bygone beauty of Eve viewed through modern eyes offer insight into past social ideals on the bigscreen.
Making his movie debut Leslie Banks (Jamaica Inn, The Man Who Knew Too Much) hijacks the frame as the communist count, his gleefully maniacal portrayal giving the villain an equal presence to his counterpart.
Black actor in “white face” Noble Johnson also starred in Robert Wise’s 1945 remake A Game of Death. Playing Ivan the Cossack in a way that means being dialogue free increases strength. His stature ensures menace while Ivan’s disabilities inject vulnerability.
John Doe first saw the film very young and despite making an impression it isn’t until now that he had a repeat screening. Certainly having a mellower impact than the initial viewing all those years ago there is still much that resonates. Worthy of admiration and your time this is all about reacquainting with the foundations of cinema storytelling, No excuses, you can watch the film below.
The Most Dangerous Game - Complete Film
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