Tarzán y su compañera

I often half-jokingly refer to "Tarzan and His Mate" as the "T2" of the 1930s, simply because it's packed with special effects, action, and spectacle of the big budget variety that I usually associate with modern films. Sure, some of the visuals look duff now - there's heavy use of rear screen projection and rubber animals - but there's also amazing sights like elephant stampedes, monkeys fighting tigers, hapless people tumbling off cliffs, and a huge elephant graveyard that must rank among the most memorable movie sets of all time.

Never mind the spectacle, though; the best part is the script. Maureen O'Sullivan has a surprisingly wonderful role as Jane. In fact, she carries the movie, since all Tarzan can really do is yodel and swing. She has to fend off the advances of two unsavory ivory hunters who want to lure her back to civilization. Tarzan is doubly threatened by these seedy guys - they want to kill his elephants AND they want his woman. This dual conflict keeps the movie cooking.

There's an amazing amount of violence in the film, including some spectacular battles with nasty tribesmen and knife fights with huge beasties. You'll even get to see a corpse with an arrow through its forehead and bugs crawling all over it. There's a bit of nudity as well, but don't get too excited as it's not really Maureen O'Sullivan swimming in the buff (but it is still swimming in the buff, so feel free to get excited anyway!). Amazing, isn't it, that "Tarzan and His Mate" is such a visceral viewing experience...especially when compared to the much tamer films that followed after Hollywood instituted a strict moral code.

Romantic, sexy, exciting, exotic - in short, all you could expect from a Tarzan movie. And the heroic monkeys are just the cutest thing ever. Once you make it past a rather dry first scene, this movie rocks all the way through.

As noted by other reviewers this is one of the best Tarzan movies. Unlike others however, I like the beginning of the film as it feels like a pretty accurate depiction of what a trading post must have been like. Plus the exposition is needed so we know why Harry wants to go back into the jungle. In addition the beginning of the film contains one of the most thrilling and terrifying chase sequences ever made.This occurs when Harry's safari group has to outrun a tribe of cannibals. The pre-censorship production values add a lot of realism, genuinely depicting the terrible dangers that awaited Europeans going into the jungle. The film also offers, though perhaps antecedently, an accurate account of how horribly treated the native Africans were by their white employers. In addition sexy Jane, thousands of elephants , some great sets and two chetas! Not to be missed an adventure classic.

The release of TARZAN THE APE MAN, in 1932, caused a sensation. It may be hard to believe, 70 years later, but the film had much of the same kind of impact as THE MATRIX, or THE LORD OF THE RINGS has achieved, at a time when movies and radio were the major sources of entertainment. Tarzan became an instant pop icon, the 'noble savage' that every woman fantasized about, and every man wished he could be. The only person unhappy about the situation was Edgar Rice Burroughs, who, while he'd agreed to MGM's creative liberties, and enjoyed his hefty royalty checks, felt the 'dumbed down' version of his character (with no plans to allow him to 'grow') was unfaithful to his vision (he would start a production company, and soon be making his own 'Tarzan' films). MGM, realizing the value of it's newest 'star', knew the sequel would have to be even more spectacular than the original...and TARZAN AND HIS MATE delivered!

The film had an interesting back story; Cedric Gibbons, MGM's legendary Art Director, had gotten a commitment from the studio to direct the sequel, prior to the release of TARZAN THE APE MAN, despite the fact that he'd NEVER directed before (the studio hadn't anticipated the film's impact, and didn't think a novice director would matter much on a 'novelty' film...and they wanted to keep their Oscar-winning department chief happy). Gibbons, a prodigiously talented and imaginative visual artist, loved the freedom of pre-Code Hollywood, and decided to have TARZAN AND HIS MATE 'push the envelope' to the limit...Tarzan and Jane would frolic in a nude swim, and Jane would appear TOPLESS through most of the film. Maureen O'Sullivan said in an interview shortly before her death, in 1998, that while a double was used for the swim, she trusted the studio, and did 'a couple of days' of filming sans top...but it became too much of a headache trying to strategically place plants and fruit to block her nipples, and the idea was abandoned (the film shot those days would be worth a fortune!) She did do a nude silhouette scene in a tent, flashed her breasts at the conclusion of her 'swim', and donned a revised 'jungle' costume that was extremely provocative, very thin, and open at the sides...and the resulting outcry would help 'create' the Hays Office, and the self-censorship that would soon engulf the entire industry.

MGM yanked Gibbons from the production (the 'official' reason given was his workload as Art Director), and veteran Jack Conway was listed as the new director, to appease the critics...although James C. McKay actually directed the film, as Conway was busy on 3 other projects, including VIVA VILLA!

The film incorporated the best elements of the original (safaris, murderous tribes, Tarzan fighting jungle beasts to the death to save Jane), and actually improved on the storytelling. Harry Holt (Neil Hamilton), from the first film, returns to Africa for ivory from the 'Elephants' Graveyard', and to try to seduce Jane into returning to England, with gifts of silk dresses, underwear, and perfume. He brings with him Martin Arlington (Paul Cavanagh), a crack shot and inveterate womanizer, who sneers at Holt's chivalrous pursuit of Jane, and stalks her as a potential 'conquest', to be had by any means (including killing Tarzan, if and when he can get away with it without being seen).

Tarzan barely tolerates the intrusion into his happy life with Jane, and puts his foot down, refusing to allow the hunters into the Graveyard. Arlington finds his opportunity, catching the Ape Man alone, and shoots him, then returns to the camp with a fabricated story of his demise. Now Jane has no reason to remain in the jungle, and she can direct them to the Graveyard, before her long voyage back to England, comforted by the oh-so-sympathetic Arlington. But a savage tribe and hideous torture await the group...can Tarzan, being nursed back to health by his ape 'family', recover in time to save Jane?

While stock footage is again used extensively, the racial stereotypes of the 30s are apparent, and the gorillas are obviously actors in ape suits, TARZAN AND HIS MATE achieves a level of sophistication unsurpassed in any other 'Tarzan' film, as well as a sexiness that even Bo Derek's blatantly erotic TARZAN, THE APE MAN couldn't touch. Johnny Weissmuller was in peak condition, physically, Maureen O'Sullivan was never more beautiful, and 'Africa' never looked more romantic, and dangerous.

TARZAN AND HIS MATE was a triumph (although it would be drastically edited for many years), and remains THE classic of the series, to this day!

Maureen O'Sullivan turns in a stunning performance as "Jane", Tarzan's love interest. O'Sullivan's Jane set a new standard for female lead characters - strong, independent, intelligent, and not afraid to accept new challenges and face new dangers. This is remarkable given that, at the time the film was made, the typical American view was that a woman's place was in the kitchen, yet here we see an attractive, diminutive, well-bred Englishwoman living in the jungle under harsh conditions and loving every minute of it. Several times during the film, a band of explorers try to convince Jane to return to civilization and conform to society's standards, and part of the film's plot revolves around her decision as to whether or not she should leave Tarzan and the jungle life and return to America, which has led some to draw parallels between women deciding between the workplace (a man's world at the time) and the home (a woman's world at the time) and the film's world of the jungle and then-modern society.

Johnny Weismuller is cast perfectly for this role. The fact that he's an Olympic swimmer lends credibility to his role as a muscular he-man living with the apes. While some people have criticized his lack of acting ability (confusing his limited lines to be equivalent with limited acting ability), I've come to the conclusion that he's a natural actor - one who can express a range of emotion with very few words - which is exactly what Tarzan should be. As an athlete, Weismuller is used to expressing himself physically - Weismuller's Tarzan is a man of few words and limited grammar, but his eyes and body language express exactly what he's feeling and thinking. While Jane is the speaker who does, Tarzan is the doer who speaks. Jane is the civilized communicator who is not afraid to dive into a crocodile-infested river. Tarzan is the noble savage who dives into a river and only speaks to clarify what his eyes and hands are saying.

The plot is basically this: a band of explorers venture into the jungle to search for the legendary elephant graveyard to find their fortune in ivory elephant tusks. They meet Jane and befriend her, hoping that she and Tarzan will help them in their search. She convinces Tarzan to guide the hunters, although Tarzan does not feel comfortable with the venture, believing that the hunters should not be violating the sanctity of the animals' graveyards (and the unspoken law of the jungle). Indeed, at one point the hunters wound an innocent animal to track it to a grave. Tarzan decides that the hunters are evil and leaves their safari, though Jane continues on as the hunters provide her with a taste of the civilized life she left behind.

We see the conflict in Tarzan between his love for Jane and his love for the animals. We see the conflict in Jane between her love of Tarzan and her memories of civilization. The decisions that the two must make as the movie progresses have been interpreted by some as having hidden meanings and that the film producers were using the Tarzan vehicle to make statements about modern society. But I'll let you watch the film yourself and make your own decisions.

One last thing: this is the only film in the series (other than the "Tarzan" film made by John Derek and starring Bo Derek) in which Jane wears a two-piece leather costume. It's also the only installment (other than the "Tarzan" film by the Dereks) in which Jane becomes nude (but in a non-sexual scene). Trying to persuade Jane to return to civilization, the hunters give Jane a formal evening gown, which she wears to dinner and all through the night. The next morning, as she climbs out of bed still wearing it, Tarzan picks her up and carries her out onto a tree limb over the river. He dumps her into the water while holding onto the dress, so that she falls into the river naked. Tarzan makes no long soliloquy here - he's just expressed his opinion on the whole matter of civilized society quite succinctly.

See the film. It's the only "Tarzan" film worth watching (well, in addition to "Greystoke" with Christopher Lambert).

Never before and never since has there been a more wonderful Tarzan movie than this one. While the first Weismuller Tarzan movie, "Tarzan The Ape Man" is required viewing before seeing this one, "Tarzan And His Mate" is the only one to watch if you have to pick just one Tarzan movie. The film delivers in action, excitement and romance on a grand level with Maureen O'Sullivan looking absolutely sexy in her abbreviated costume as Jane. Unfortunately, the iron hand of the Hays Office forced all subsequent Weismuller-O'Sullivan Tarzan films to be toned down in the romance department (with O'Sullivan getting more conservative wardrobe) and the series never came close to this film again. Highly recommended.