Tarzan in Gefahr

TARZAN AND THE MERMAIDS (RKO Radio, 1948), directed by Robert Florey, stars Johnny Weissmuller in what became his 12th and final performance as the Lord of the Jungle, and sixth under Sol Lesser's production for RKO. While this long running adventure series could have ended here, the Edgar Rice Burroughs character, having been on the screen since the silent movie days beginning with Elmo Lincoln in 1918, would go on vine swinging across the theater screen for another two decades with numerous and younger actors assuming the part, with Weissmuller, on record as being the one most associated with the role, not because he was the best (or was he?), but appearing in more "Tarzan" adventures and longer than any other actor.

As for the story starting with a narration followed by ten minute character introductions, Mara (Linda Christian), a beautiful maiden from the forbidden island, is forced by the High Priest (George Zucco) to become an unwilling bride of a feared island "God" Varga (Fernando Wagner), a villainous pearl trader, although she actually loves the exiled Tiko (Gustavo Bojo). Mara escapes Aquantinia and swims to the location of Tarzan (Johnny Weissmiller) and Jane (Brenda Joyce) who agree to assist her. After Mara is found, she is abducted and taken back to her island. Tarzan and Jane follow, are held prisoners. Following their escape, Tarzan intends to unmask the false god and expose the white men after their priceless pearls before Mara's wedding is to take place. Also featured in the cast are Edward Ashley (Balu)and Andrea Palmer (Luana).

In spite the fact that TARZAN AND THE MERMAIDS, might have made Weissmuller's farewell performance into something special, its ordinary 68 minute storyline, which appears to have been revamped many times over the years, especially from the Maria Montez and Jon Hall South Seas adventures produced over at Universal through most of the 1940s, weakness dominates few of its strengths. Obvious changes were also being made at this time. Missing from the cast of regulars is Johnny Sheffield as Boy, who had outgrown his part. He is mentioned by Jane, as she writes a letter to him, to be attending school in England (a truant officer must have come for him after all these years in the jungle), leaving Tarzan and Jane with Cheetah to fill in the void. Along with the good and the not so good, this marks the first in the series since the early MGM days to be lensed on location rather than a closed set. Opening titles credit this with location scenes filmed in Acapulco and the studios at Churubusco and Mexico City, which is all well and good, but one would wonder why color photography wasn't an added factor to the expense of location scenes. Interestingly, the use of the footage lacks the substance of any indication of this being in Tarzan's native homeland of Africa. As for the featured players, George Zucco as the villainous high priest, is the only asset. One only wishes he had more scenes matching wits with Tarzan adding more interest to the story.

While the weakest in the series, TARZAN AND THE MERMAIDS shouldn't be classified as the worst. Lacking more action than usual, one of its main faults is not so much as adding new characters to the story, but the extensive use of a singing mailman, played by John Lorenz as Benji (no, not in the form of the famous dog). Not truly categorized as a musical, it consists of numerous songs to make it so, including such forgettable tunes as, "I'm Taking a Letter to My Friend, Tarzan," "Oh, Most Beautiful Mermaid," "Fairwell, Fair Mermaid," "Let Us Hasten to Adventure" and "I'll Serenade You With My Guitar." A pity Tarzan doesn't get his chance to serenade Jane in a canoe surrounded by swimming native girls, which might have worked as a very silly highlight, but for what it is, TARZAN AND THE MERMAIDS is so offbeat from its predecessors, lacking the standard use of animal stampedes, dangers setting place underwater (though there's a memorable cliff diving scene and added attraction of Tarzan fighting an octopus), the traditional Tarzan ape call, along with additional footage centered upon other actors bearing little or no interest to the viewer, of course with the exception of the characteristic Zucco.

Having played on commercial television since the 1960s as part of its "Tarzan" lineup, with the RKO Radio series never placed on video but onto DVD, TARZAN AND THE MERMAIDS was, along with the other "Tarzan" adventures, presented on American Movie Classics cable channel (1998-2000) before moving to Turner Classic Movies(TCM premiere: June 25, 2011). As specified, TARZAN AND THE MERMAIDS marked the end of an era for Weissmuller, who no longer was physically fit to appear in any more installments.

Considering his type-casting, he didn't end up collecting his unemployment check. Almost immediately, he found renewed success assuming the part as another jungle hero (fully clothed) in a brand new film series as JUNGLE JIM (1948 to 1955) for Columbia Pictures. Brenda Joyce would play Jane one more time for the next installment, TARZAN'S MAGIC FOUNTAIN (1949), introducing Lex Barker as the new (and younger) jungle man. (**1/2)

I always want to see the aging veteran ballplayer play that one last season. Most of the time, they shouldn't - but I want to see it anyway.

Why? Because I love those guys and want to prolong the experience of seeing them perform as long as possible.

Alas, Tarzan & The Mermaids is your classic example of taking a film series one film too long. The should have stopped with the fine Tarzan & The Huntress. But hey, what can you do?

Filmed down in Mexico on a buck-and-a-half, Tarzan & The Mermaids is a total cheapo with long interludes of silence, as though it were indeed shot as a silent film.

The film is pretty dull, the plot, hell, who cares: It's the usual? This film was the perfect transition for Johnny Weissmuller to transition into Jungle Jim. The time had come.

Catch the ones where he fights the Nazi's instead. Those are great!

Fed up with scientists, hunters, leopard women, Amazon warriors and Nazis ruining their peace and quiet, Tarzan (Johnny Weissmuller) and Jane (Brenda Joyce) have upped sticks and moved to a riverfront property, where they hope to spend their days relaxing, fishing and enjoying a little privacy now that Boy has finally flown the coop (gone to school in England, apparently, although I reckon actor Johnny Sheffield saw the proposed plot for this film and ran a mile!).

This seemingly idyllic locale still has its drawbacks though: not only do the couple now have a really irritating new neighbour in the form of calypso-singing mail-man Benji (John Laurenz), but only a few short vine swings down the river, trouble is brewing in the taboo coastal realm of Aquatania, where a pair of wicked con artists (George Zucco and Fernando Wagner) are posing as living deity Balu to trick the locals out of a fortune in pearls. After giving refuge to a young Aquatican woman who has escaped from a forced marriage to the false god by swimming upriver, Tarzan decides that if he is ever going to get some well earned rest and relaxation (and judging by Weissmuller's haggard appearance, he really could do with some), he must first sort out the unrest in Aquatania (although personally I would begin by throttling Benji!).

The twelfth and final outing for Johnny Weismuller as Edgar Rice Burrough's ape-man, Tarzan and the Mermaids is easily the weakest of the whole series, with a star who looks like he's been partying way too hard between shooting (stubble and a paunch is not a great look), a poor script that favours musical numbers, lighthearted aquatic frolics, scenic panoramas over decent action and adventure, and a thoroughly unconvincing Mexican filming location (an Aztec temple, the unmistakable cliffs of Acupulco, and a supporting cast of Hispanic performers don't exactly give off that African vibe). Director Robert Florey's tepid direction does little to help matters, with even an attack by giant octopus proving to be a big disappointment.

Weissmuller enthusiasts will no doubt want to check out 'Mermaids' for the sake of completion, but be warned, this ain't a great way to end an era.

Johnny Weissmuller's final film as 'King of the Jungle', after 16 years in the role, TARZAN AND THE MERMAIDS, is bound to disappoint all but the most ardent of his fans. At 44, the ex-Olympian, one of Hollywood's most active 'party animals', was long past the slim athleticism of his youth, and looked tired (although he was in marginally better condition than in his previous entry, TARZAN AND THE HUNTRESS).

Not only had Weissmuller gotten too old for his role; Johnny Sheffield, the quintessential 'Boy', had grown to manhood (he was a strapping 17-year old), so he was written out of the script, under the pretext of being 'away at school'. Brenda Joyce, at 35, was appearing in her fourth of five films as 'Jane' (she would provide the transition when Lex Barker became the new Tarzan, in 1949's TARZAN'S MAGIC FOUNTAIN) and was still as wholesomely sexy as ever.

Produced by Sol Lesser, at RKO, on a minuscule budget, the cast and crew took advantage of cheaper labor by filming in Mexico. While the location gave a decidedly Hispanic air to what was supposedly darkest Africa, veteran director Robert Florey utilized the country extensively, incorporating cliff diving and an Aztec temple into the story.

When a young island girl (Tyrone Power's future bride, Linda Christian) is rescued in a jungle river by Tarzan, he learns that a local high priest (George Zucco, one of filmdom's most enduring villains) had virtually enslaved the local population, threatening retribution from a living 'God' if they don't do his bidding. The girl had been chosen to become the 'God's' bride, so she fled. Faster than you can say 'Is this a dumb plot or WHAT?', the girl is kidnapped by the priest's henchmen and returned to the island, and Tarzan, followed by Jane, colorful Spanish character 'Benjy' (charmingly played by John Laurenz, who sings several tunes), and a government commissioner are off to take on the Deity and his priest (poor Cheeta is left behind). After a series of discoveries (the 'God' is simply a con man in an Aztec mask, working with the priest in milking the island's rich pearl beds), a bit of brawling action, and comic relief and songs by Benjy, everything reaches the expected happy conclusion.

Remarkably, TARZAN AND THE MERMAIDS features a musical score by the brilliant film composer, Dimitri Tiomkin, and is far better than what you'd expect from this 'B' movie!

While the film would provide a less-than-auspicious end to Weissmuller's time in Tarzan's loincloth (he would immediately go on to play Jungle Jim, a more eloquent variation of the Ape Man, in khakis), the talent involved lifted the overall product at least a little above the total mess it could have been.

Tarzan was about to get a make over, and become much sexier...

Johnny Weissmuller's Tarzan saga ends here.Weissmuller ended his Tarzan career after twelve motion pictures.Here he lives in the jungle with the sweet Jane (Brenda Joyce) and Cheeta.Boy has left to study in England.And a man named Benji (John Laurenz) brings some singing mail from him.Linda Christian plays a young girl who is being forced to marry an evil pearl trader who poses as the God Balu.But she's in love with Tiko (Gustavo Rojo).So she jumps into the ocean and escapes until Tarzan captures her in his net.Robert Florey's Tarzan and the Mermaids (1948) isn't the most critically acclaimed Tarzan movie but it works for me.It's a lot of fun to watch this character created by Edgar Rice Burroughs getting away from sticky situations.In this movie the sea has a big part.It's a real treat to watch the beautiful and sensual Linda Christian swimming and diving like a mermaid.The movie is full of great underwater action.Take Tarzan battling with a giant octopus, for instance.Some sweaty situations take place on shore, as well.Altogether this is a nice way for Johnny Weissmuller to say farewell to the character, the mighty Tarzan.