Film
Son of Kong – “de Zoon van Kong”
1933
Netherlands
Fine plus -Very Fine minus ; originally folded (as issued)
Ernest B. Schoedsack
Ed Brady, Frank Reicher, Helen Mack, John Marston, Robert Armstrong
An incredibly scarce film poster that rarely comes to market…an original 1933 Dutch one sheet for the imaginatively titled “King Kong” sequel “Son of Kong” (de Zoon van Kong). “King Kong” was so successful that it was no surprise RKO Studio rushed out a same-year sequel, again starring Robert Armstrong (reprising his role as ‘villain’ Carl Denham from the previous movie. Any paper from the 1930’s with ‘Kong’ in the title is extremely sought after and collectable with prices for US posters commanding prices in excess of $20,000 for “Son of Kong” examples. Which makes this superb item from the Netherlands a great value for money purchase. From the 1933 release in Europe this magnificent film poster features striking country unique (Dutch) artwork by Mettes and is presented in very good original (folded, as issued) unrestored condition. The yellow background is bright and vibrant with the deeper colours dark and unfaded. All in all a magnificent piece of rare cinema history that represents a very desirable piece of vintage horror movie memorabilia.
…more detailVintage Movie Posters Grading Criteria... read more +
It’s one month after the “King Kong“ fiasco and Carl Denham (Robert Armstrong) 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.
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Mint
A poster that has never been used or displayed and may show the most minor signs of age and wear. The poster should have no holes or tears.
Near Mint
A generally unused poster with fresh, saturated colors. May have minimal tears at folds. Has no significant holes, no paper loss, may have minor tears along edges, may have fine pin holes.
Very Fine
A poster with bright colour and crisp overall appearance. It may have very general signs of use including slight fold separation and fold wear. It may have pin holes or very minor tears. This is the highest grade allowed for a poster that has been restored either on linen or on paper.
Fine
A poster with good colors and overall clean appearance. It may have minor tears small paper loss and minor stains. It may have some fold seperation.
Good
An average poster with overall fresh color. May have tears, minor paper loss, minor hazing. Paper may be brittle due to age, may have minor stains. May have a small amount of writing in an unobtrusive place. May have medium or major restoration.
Fair
A poster with faded colors and brittle paper, showing significant signs of use. May have tears and paper loss. May have tape, writing, stains in image area. In need of restoration or had major restoration.
Poor
A poster that is worn, torn, and/or damaged. May have staining, cracking, dry rot, and/or large tears. May be heavily soiled, may have pieces missing. In need of major restoration.
All photographs and images used on our site are photographs of the actual poster/item you are buying, we do not use stock photographs.
LOBBY CARD
11 x 14″ printed on heavy stock paper. Used as display in theatre lobbies. Originally made in sets of eight. Some sets have a title card, which contains credits and artwork, essentially a mini-poster. The remaining seven cards are coloured photographic credits and poster artwork showing different scenes from the movie.
WINDOW CARD
14 x 22″ printed on heavy stock paper with the top 4-6 inches usually left blank for the local cinema owner to fill in the cinema and the date it was due to play. Largely discontinued during the 1970’s.
HALF SHEET
22 x 28″ printed on heavy stock paper. The image displayed is normally a smaller version of the main poster, although some do have different artworks and sometimes come in two versions.
INSERT
14 x 36″ printed on heavy stock paper. Inserts usually have the same artwork as a one sheet. Popular with collectors since they are smaller and easier to frame. Normally come tri folded or rolled.
STYLE Y/FORTY BY SIXTY
40 x 60″ printed on heavy stock paper. Rare since they were primarily used for major motion pictures only. Designed to be used outside the theatre, on an easel, normally at a drive-in movie theatre.
ONE-SHEET
27 x 41″ printed on paper. This is the most common size of poster, intended to be displayed in a glass “marquee” case. It is the most sought after size by collectors. Since the 1980’s most posters are sent to the theatre rolled and maybe slightly smaller measuring 27″ by 40″ and with the advent of backlit light boxes a growing number of modern movie posters are available double-sided and the more traditional single-sided.
THREE-SHEET
41 x 81″ printed on paper. These were printed on two or three separate sheets designed to overlap, few survive. Used for larger advertising spaces, normally posted on walls, perfect for huge movie theatres the drive-in, where people could see them from a distance. From the 1970’s on, three-sheets were sometimes printed in one piece and issued as “international” versions to be used abroad.
BRITISH QUAD
30 x 40″ Most common poster size used in the UK. British Quads are horizontal and may have different artwork to the US one sheet. Like a US one sheet they normally come in two versions. Like a US one sheet they are usually supplied single-sided or more commonly now as a double sided poster.
BRITISH ONE-SHEET
27 X 40″, printed on paper. Very rarely used size.
ITALIAN LOCANDINA
13 x 28″ six inches shorter than the US insert, very nice size to frame. Italian poster illustrators are some of the best in the industry.
ITALIAN PHOTOBUSTA
18 x 26″ Glossy, high quality, used as lobby cards in Italy. Size may vary, either vertical or horizontal format. There are also double Photobusta or mini Photobusta.
2-FOGLIO (DUE)
(DUE): 39 x 55″ This is the standard poster size used in Italy. Italian poster illustrators are some of the best in the industry.
4-FOGLIO
(QUATTRO) 55 x 79″ Very large Italian poster printed in two pieces, often contains very beautiful artwork.
FRENCH
47 x 63″ (GRANDE) or 24 x 33″ (PETITE) French movie posters normally come with different artwork to either the US or the UK. Like the Italian’s some of the artwork is extrememly beautiful.
