(Modified, Comedy:) When a quirky special effects technician and a movie’s starlet get lost in Africa’s deepest forest highlands, the tech must protect the starlet and himself —- plus a klutzy giant gorilla —- from poachers.

dpg ?
Thanx for giving this a look.
Because he is non-commital at the start, my protagonist has the direct opposite frame of mind as does the Save the Animals? starlet. And because the starlet is so dedicated to her cause that she comes between the poachers and the giant gorilla, my protagonist must save the gorilla to save her. Therefore, by the end of the story, (after he realizes how incapable the giant gorilla is of protecting himself,) the protagonist commits to protecting the gorilla.
They (and the rest of the cast and crew) arrive in Africa the day before they're scheduled to start shooting a feature film. It's around the fire that night that we hear the legend of Congo Kong; of the starlet's strong anti-poaching views; and of the protagonist's desire to remain neutral, somewhat like Bogey (Rick) in Casablanca.
I hope that clarifies your issues with the logline and backstory.
Am I missing anything?

Please clarify. As you see your story: in what way does having to rescue a damsel (and gorilla) in distress force him to deal with his personal problem of non-commitment? By the end of the story, what is he going to commit to that he wouldn't and couldn't at the start of the film?

And: what are they doing in Africa? On a location shoot for a feature film? Doing a documentary on poaching? Or...?

dpg --
Thanx for your commentary.
Does the following fulfill your suggestions?
(Comedy:) When a non-committal special effects technician and an anti-poaching movie starlet get lost in Africa's deepest forest highlands, the quirky technician must protect the starlet and himself ? and a klutzy giant gorilla ? from poachers.
...........j