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.
| Production | Ernest B. Schoedsack | Producer |
| Sound | Max Steiner | Original Music Composer |
| Writing | Ruth Rose | Screenplay |
| Camera | Kenneth Peach | Director of Photography |
| Lighting | George Marquenie | Best Boy Electric |
| Camera | Ernest B. Schoedsack | Camera Operator |
| Editing | Ted Cheesman | Editor |
| Production | Walter Daniels | Producer |
| Writing | James Ashmore Creelman | Screenplay |
| Camera | Vernon L. Walker | Director of Photography |
| Camera | J.O. Taylor | Director of Photography |
| Production | David O. Selznick | Executive Producer |
| Camera | Edward Linden | Director of Photography |
| Directing | Ernest B. Schoedsack | Director |
| Directing | Merian C. Cooper | Director |
| Production | Merian C. Cooper | Producer |
| Art | John Cerisoli | Sculptor |
| Costume & Make-Up | Mel Berns | Makeup Supervisor |
| Crew | Harry Redmond Sr. | Special Effects |
| Writing | Merian C. Cooper | Idea |
| Crew | Harry Redmond Jr. | Special Effects |
| Writing | Leon Gordon | Writer |
| Sound | Richard Van Hessen | Boom Operator |
| Art | Carroll Clark | Art Direction |
| Crew | Frank D. Williams | Special Effects Technician |
| Art | Alfred Herman | Art Direction |
| Art | Ernest Smythe | Additional Storyboarding |
| Sound | Murray Spivack | Sound Effects |
| Art | Steve Rez | Paint Coordinator |
| Sound | Eddie Harman | Sound Recordist |
| Art | Van Nest Polglase | Supervising Art Director |
| Sound | Murray Spivack | Sound Designer |
| Art | Carroll Clark | Settings |
| Sound | Clem Portman | Sound Re-Recording Mixer |
| Writing | Edgar Wallace | Idea |
| Art | Alfred Herman | Settings |
| Camera | Ernest Bachrach | Still Photographer |
| Camera | Sam Redding | Key Grip |
| Costume & Make-Up | Walter Plunkett | Costume Design |
| Crew | Marcella Allen | Stunt Double |
| Camera | William H. Clothier | First Assistant "B" Camera |
| Crew | Lillian Jones | Stunt Double |
| Crew | Pauline Wagner | Stunt Double |
| Directing | Betty Goode | Script Supervisor |
| Crew | Duke Krantz | Pilot |
| Writing | Edgar Wallace | Story |
| Production | Fred Schuessler | Casting |
| Writing | Merian C. Cooper | Story |
| Art | George Gabe | Property Master |
| Sound | Harold E. Stine | Boom Operator |
| Camera | Bert Willis | First Assistant "A" Camera |
| Art | Thomas Little | Set Decoration |
| Costume & Make-Up | Dotha Hippe | Hairstylist |
| Directing | Walter Daniels | Assistant Director |
| Art | Carroll Clark | Production Design |
| Costume & Make-Up | Sam Kaufman | Makeup Artist |
| Directing | Doran Cox | Assistant Director |
| Directing | Ivan Thomas | Assistant Director |
| Crew | Aline Goodwin | Stunt Double |
| Sound | Earl A. Wolcott | Sound Recordist |
| Crew | Cherie May | Stunt Double |
| Art | Ray Moyer | Set Decoration |
| Crew | Judy Malcolm | Stunt Double |
| Crew | Buddy Mason | Stunt Double |
| Visual Effects | Willis H. O'Brien | Visual Effects |
