Development James Creelman assisted in scriptwriting for both
King Kong (1933) and
The Most Dangerous Game. The producing team included Ernest B. Schoedsack and Merian C. Cooper, co-directors of
King Kong. The script follows the original short story by Richard Connell very closely, using complete conversations from it. In the ending of the film, Zaroff dies from a fall rather than Rainsford's hand as in the story. Creelman added Eve to the story, as well as Zaroff's interest in sexual pleasure after a successful hunt. Originally, the film was envisioned as a relatively spectacular production with a budget of $400,000.
RKO cut the budget of the film to $202,662 and limited it to a three-week shooting schedule.
Filming The Most Dangerous Game was filmed at night on the same sets used later in
King Kong (1933) and with four of the same actors,
Fay Wray,
Robert Armstrong,
James Flavin and Noble Johnson. Shoedsack directed the scenes with actors, while Cooper directed the special effects. Twenty Great Danes were cast as Zaroff's dogs. Five had special training for film chase scenes, but despite this, one dog bit Leslie Banks during filming. The final 70-second shipwreck sequence contained 25 shots and is a "striking" example of a montage for the early
talkie era. During filming for
The Most Dangerous Game, Cooper produced the test reel for
King Kong, leading to an incorrect assumption that the two films were produced at the same time. and
Joel McCrea in a scene from the film
Carroll Clark directed the art, and Thomas Little (uncredited) created the sets. The jungle set was built in a large tank that was deep. The sets for the waterfall and rapids were built on a separate stage. Location shots were done at Southern California beaches.
Redondo beach provided cliffside sea shots, while a beach near
San Pedro was the site of the rocky beach shots where Rainsford swims ashore.
Nicholas Musuraca, famous for his film noir style, photographed location scenes and some special effects scenes with glass and process plates. Mario Larrinaga painted glass paintings for buoy lights and night sky shots. The footage of sharks eating meat with blood streaming from their mouths from the shipwreck were taken from
Bird of Paradise. Traps in the film were based on real traps Schoedsack learned to use in Thailand.
Henry W. Gerrard oversaw cinematography. Robert De Grasse, on second camera, recorded the entire film from angles very similar to Gerrard's in order to have a high-quality similar copy for European distribution. This was necessary because duplicates of films were often poor.
Russell Metty, who later directed cinematography on films such as
Bringing Up Baby, was part of the first camera team. Shoedsack and Cooper wanted a fast-paced film. To ensure that scenes did not drag, Schoedsack timed scene takes, often speeding up a scene for its final take. Irving Pichel assisted in directing the dialogue. Two Russian language experts worked with Banks to ensure that his Russian and Russian accent were correct.
Score Max Steiner, then musical director at RKO, initially commissioned
W. Franke Harling to write the score, which he did. Cooper complained that Harling's score sounded too much like a Broadway show, and Steiner composed the score heard in the final film. Steiner's score uses a hunting call as a recurring motif. Steiner's score is absent in the yacht and shipwreck scenes, creating a contrast to scenes on the island. Three different motifs are associated with Zaroff: the hunting call, the Russian waltz, and a "loping, syncopated motif" that represents his "barbarism." The final chase scene incorporates all three themes. At the end the film, the door viewers saw at the beginning closes. Here Steiner reprised the waltz and Zaroff themes in a major key. Scoring and recording the soundtrack cost $13,720.54, significantly over the $5,900 budget for the soundtrack. The music was re-used in other RKO releases. ==Release==