In the 1976 remake, and King Kong Lives, Kong is among the last living members of a giant species of ape that lives on the mysterious Skull Island, which is inhabited by other giant creatures as well as a tribe of natives that worship him as a god. He frequently utilizes environmental objects while fighting, and learns over the course of a battle. Kong demonstrates at least semi-sapience in all of his film appearances.
Kong has a soft spot for human women, and will do anything to protect a woman that he likes, whether it be battling against another monster or battling military forces. Kong rarely attacks unless provoked, and is capable of causing mass destruction due to his size and strength, which causes human beings to fear and attack him.
Kong lives a very solitary and difficult existence, constantly being attacked by the vicious giant creatures that live on his island. In all of his appearances, Kong is portrayed as a tragic and sympathetic monster. Some sound effects from The Deadly Mantis were also used for King Kong in 1976 and Gamera in Gamera the Brave and Yonggary in Reptilian. These roars would go on to become very famous stock roars and were even used for Toto in Gamera: The Brave 30 years later. In the 1976 remake, King Kong's vocalizations were provided by an uncredited Peter Cullen, as well as Universal Stock elephant bellows. Kong varies between knuckle-walking like a real gorilla and walking bipedally and upright like a human, sometimes utilizing both forms of locomotion in the same film. Neither is the relationship between Ann and Kong, though she tries mightily to do right.In all of his appearances, Kong mostly resembles a giant silverback gorilla, with either light black or brown fur. If this scene illustrates the movie's awareness of the problem (the crude translation of blackness by a white "producer"), it's not quite a resolution. It's telling that Hayes does not see the reenactment of the tribal ritual as Denham's stage show, populated by performers in overtly offensive blackface.
While the movie demonizes the black natives who throw back their heads and chant during their ritual to sacrifice Ann to Kong, it also offers a complication in the ship's courageous, sensible, and black first mate, Hayes (Evan Parke). Like the 1933 original film, Jackson's adaptation examines the excesses and vagaries of show business. It's not "beauty that kills the beast," but greed, meanness, and fear that destroy his admirable "nature" and emblematic manhood. The men around her adore her and even indulge in heroics to save her, but none is so compelling a personality as the gigantic gorilla who comes to love her. In this excellent version of the classic 1933 film, the relationship between Ann and the giant ape is everything. What sets Peter Jackson's movie apart from its predecessor is its characterization of Ann as courageous and her insight when she is grateful for Kong's protection.