Een regisseur van natuurdocumentaires genaamd Carl Denham krijgt een kaart in handen met daarop de locatie van het verborgen Skull Island, waar de god Kong zou leven. Na een werkloze vrouw genaamd Ann Darrow van de straat geplukt te hebben voor de hoofdrol vertrekt hij met zijn crew naar Skull Island voor opnames.
Nee, helaas is King Kong nog niet beschikbaar op Netflix in Nederland.
| Sound | Max Steiner | Original Music Composer |
| Camera | J.O. Taylor | Director of Photography |
| Camera | Kenneth Peach | Director of Photography |
| Writing | Ruth Rose | Screenplay |
| Camera | Vernon L. Walker | Director of Photography |
| Production | Walter Daniels | Producer |
| Directing | Ernest B. Schoedsack | Director |
| Directing | Merian C. Cooper | Director |
| Production | David O. Selznick | Executive Producer |
| Production | Ernest B. Schoedsack | Producer |
| Camera | Edward Linden | Director of Photography |
| Writing | James Ashmore Creelman | Screenplay |
| Production | Merian C. Cooper | Producer |
| Camera | Ernest B. Schoedsack | Camera Operator |
| Editing | Ted Cheesman | Editor |
| Lighting | George Marquenie | Best Boy Electric |
| Sound | Murray Spivack | Sound Effects |
| Sound | Murray Spivack | Sound Designer |
| Art | Alfred Herman | Settings |
| Art | Ernest Smythe | Additional Storyboarding |
| Writing | Merian C. Cooper | Idea |
| Art | Carroll Clark | Settings |
| Art | Van Nest Polglase | Supervising Art Director |
| Sound | Eddie Harman | Sound Recordist |
| Art | John Cerisoli | Sculptor |
| Art | Steve Rez | Paint Coordinator |
| Crew | Frank D. Williams | Special Effects Technician |
| Costume & Make-Up | Mel Berns | Makeup Supervisor |
| Art | Carroll Clark | Art Direction |
| Writing | Leon Gordon | Writer |
| Art | Alfred Herman | Art Direction |
| Sound | Clem Portman | Sound Re-Recording Mixer |
| Crew | Harry Redmond Sr. | Special Effects |
| Sound | Richard Van Hessen | Boom Operator |
| Crew | Harry Redmond Jr. | Special Effects |
| Writing | Edgar Wallace | Idea |
| Camera | Ernest Bachrach | Still Photographer |
| Camera | Sam Redding | Key Grip |
| Art | Ray Moyer | Set Decoration |
| Sound | Earl A. Wolcott | Sound Recordist |
| Camera | William H. Clothier | First Assistant "B" Camera |
| Directing | Walter Daniels | Assistant Director |
| Crew | Lillian Jones | Stunt Double |
| Crew | Pauline Wagner | Stunt Double |
| Directing | Betty Goode | Script Supervisor |
| Writing | Edgar Wallace | Story |
| Art | Thomas Little | Set Decoration |
| Sound | Harold E. Stine | Boom Operator |
| Writing | Merian C. Cooper | Story |
| Production | Fred Schuessler | Casting |
| Costume & Make-Up | Walter Plunkett | Costume Design |
| Costume & Make-Up | Sam Kaufman | Makeup Artist |
| Crew | Marcella Allen | Stunt Double |
| Crew | Judy Malcolm | Stunt Double |
| Directing | Doran Cox | Assistant Director |
| Crew | Cherie May | Stunt Double |
| Crew | Duke Krantz | Pilot |
| Crew | Buddy Mason | Stunt Double |
| Directing | Ivan Thomas | Assistant Director |
| Costume & Make-Up | Dotha Hippe | Hairstylist |
| Crew | Aline Goodwin | Stunt Double |
| Camera | Bert Willis | First Assistant "A" Camera |
| Art | Carroll Clark | Production Design |
| Art | George Gabe | Property Master |
| Visual Effects | Willis H. O'Brien | Visual Effects |
