Tarzán y su compañera

The efforts that MGM gave on this lavish production were undeniable, greatest sets where a painted wall has high mountain as backdrope, so many animals were introduces in each fight scenes, Johnny Weissmuller at peak of his physical fitness, allowed a vigorous decent acting, also see again the famous Neil Hamilton on early steps of his priceless career is quite nostalgic, but the highlights came from the measureless underwater ballet scenes between Tarzan and an almost nude Jane, astonishing scenes from a pre-code enforced by moralist at its time, even having a weak plot all sequence were fully developed on high standard pattern by Metro, a bit dated by now, moreover allied with a fine supporting casting the picture flow smoothly to the viewers!!

Resume:

First watch: 1988 / How many: 2 / Source: TV-DVD / Rating: 7.5

It feels weird saying this as a young black man of 29, but Maureen O'Sullivan engenders/embodies a flirty sexuality unequaled in today's movies. She plays tomboyish, but is so flirty at the same time that renders her simply irresistible as Jane. I'm also surprised that Tarzan is still so rough with her and that that was acceptable back in the day. I mean, it's cute, but a tad ungentlemanly.

Since I need to write at least ten lines, I'll continue on...

It's actually really refreshing, the irrelevance of the shame of nudity in this film. Here we are, in 1934, with a man undressing for a bath in the same room with his friend. Jane's naked silhouette tempting the imaginations of every red-blooded American. It's just so natural and alluring in its unabashedness. The skinny-dipping scene is a beautiful ballet of light, water, and skin. It's not pornographic, simply playful and free.

As a black man, I'd love if there was some way the treatment of blacks in this film weren't so harsh, as though all they are are beasts of burden, but I suppose it was a sign of the times. It's darned near slavery. But then again, I never traveled on safari in Africa in the 30s.

Plot-- Two money-hungry Englishmen organize a safari to Africa to bring back prizes of elephant ivory and a reluctant Jane Parker. Trouble is she seems to prefer an apeman, a loincloth, and a cave to city sophisticates, evening gowns and country mansions. In the safari process, however, they overlook that even the jungle has its laws.

Thanks TCM for showing the movie's uncensored version. I expect the morality watchdogs must have overdosed on 1934 viewing. But there's a heckuva lot more to the movie than bared female skin and two unmarried people living together. O'Sullivan's absolutely enchanting as Jane. Her charm even outshines herds of stampeding elephants and bands of chattering chimps. More importantly, I think I've got her bare hips memorized. Then too, add a man of few words, the lean and lithe Weismuller, to the movie mix. He's perfect as lord of the jungle, more at home in the wilds than in the city, traveling by swinging vine instead of clogged freeway.

Then too, I detect a topical allegory lurking in the subtext. Something about living in harmony with nature rather than trying to plunder it. Sure, nature here is a creation of studio wizards at MGM, and not the real Africa. Still, the results are impressive as heck, even with backscreen projection and liberal use of matte. But since when did I go to adventure movies expecting documentary realism. That I'll leave to the textbooks and PBS. Actually, my favorite movie moment is when thoughtless chimp Cheetah decides to tease three baby lions, only to find that a muscular mother doesn't quite understand. It's an amusing little touch. Anyhow, if there's a better Tarzan movie, I haven't seen it, even if this one is an antique. Meanwhile, I'm off to the jungle with visions of loincloth Jane dancing in my head. Okay, maybe not, but it's still a big thanks to this great movie.

The second of the MGM Tarzan movies should be heralded as one of the finest adventure films in cinematic history. A sequel to Tarzan the Ape Man (1932), it brings back Johnny Weissmuller and Maureen O'Sullivan as Tarzan and Jane respectively, and then runs through scene after scene of pre-code and pre-computer effects excellence.

Plot line is weak, but it doesn't matter in the grand scheme of entertainment things. Basically greedy ivory hunter Martin Arlington (Paul Cavanagh) and Harry Holt (Neil Hamilton as Jane's one time beau who has lost her to Lord of the Apes) travel into the jungle in search of Mutia Escarpment - the elephant burial grounds. Tarzan and Jane arrive on the scene after 20 minutes of film, which is the cue for Jane to make the two Khaki Fatigue wearing lads hot under the collar, and for Tarzan to literally have to fight for his woman - the animals - and his life!

What unfolds in 105 minutes of film is a tale of simmering sexuality, raw animal instincts, brutal battles and some Simian scene stealing. Cedric Gibbons originally directed the picture, well he was there until MGM realised he wasn't up to the task and replaced him with a criminally uncredited Jack Conway, and Conway (The Easiest Way) was just the man to curl the toes of those waiting in the wings at censorship city.

OK! The sexy angle is hard to ignore, and why anyone with a pulse would want to is anyone's guess! O'Sullivan is barely covered and Weismuller is in such fine shape he makes me wish I had never discovered booze and junk food! There is rumble in the jungle as Tarzan and Jane go for a swim, as he blows on her hair to wake her up (oh she sleeps in the raw by the way), and as the city boys revel in getting Jane to once again wear a "city" dress. This is just a point of reference to make us aware that the one time city girl has thrown off her sexual inhibitions and gone natural up in the tree tops. And did I mention a sexy silhouette scene? No? Well I have now.

So, casting aside the wonderful eroticism of it all, as an action film it's also superb. The technical tools available in the early 1930s are used to the max here, it matters not about dummies being flung about the place, or that men in monkey suits fill in while Cheetah is off having a smoke! Or even that the back projection work will appear crude to the X-Box generation, this is film making craft that enchanted those film lovers queueing at the theatre to see this back in 1934. Watching it now demands the utmost respect and admiration.

So, get ready for a native army who during their attacks specialise in firing arrows into the heads of the enemy. For Gorilla's who love to use boulders as weapons. For Tarzan to fight a lion, a crocodile and a rhinoceros. Watch in awe as there is Pachyderm Pandemonium, a pride of lions menacing our Jane, classy chimps proving smarter than your average human, and of course there are high grade gymnastics evident as well.

The Hays Code would soon come into play and dilute the Tarzan series, but still being able to see these early MGM Tarzan movies is akin to going to a film museum where only the open minded are invited. Wonderful. 10/10

TARZAN AND HIS MATE (Metro-Goldwyn-Mayer, 1934), directed by Jack Conway (credited to MGM art director Cedric Gibbons), a sequel to the successful TARZAN THE APE MAN (1932), remains a highly acclaimed entry in the series. As with its predecessor, the character of Tarzan (and now Jane) do not appear until late into the story, in this instance 23 minutes from the start of the movie. Hailed by many as the best of the entire series, it's noted solely not only for its action and adventure, but for its sexual innuendos, Jane's two-piece jungle wear, as well as the most eye-opening sequence of all, the underwater swimming of Tarzan (still sporting his loincloth) with Jane, in long shot and shown from her back, completely in the nude. This now famous sequence which was later removed, especially from commercial television, has amazingly survived over the years and now restored, elevating the standard 93 minute print back up to its near theatrical length of 105 minutes. Johnny Weissmuller, the Olympic swimming champion chosen to play Edgar Rice Burrough's literary jungle hero, reprises his role, with an added bonus with mono-syllable ideologue. Unlike his co-star, Maureen O'Sullivan, Weissmuller's movie career became limited solely to playing Tarzan while O'Sullivan ventured in other screen roles without losing her identity as Jane.

In the conclusion of TARZAN THE APE MAN, Jane's father (C. Aubrey Smith) dies in Mutia Escartment, Harry Holt (Neil Hamilton) returns to England without his love, Jane, who has chosen to remain in the jungle with Tarzan. The sequel opens with Harry returning to Africa, accompanied by his assistant, Marlin Arlington (Paul Cavanaugh), to secure the ivory fortune at the elephant burial ground. En-route through the jungle, their safari meets up with danger as they are attacked by murderous natives and gorilla tribes. In time the safari is saved by the jungle call of Tarzan, who then escorts Harry to his mate, Jane. While Harry's intentions are honorable, with the hope of having Jane return home to England with him, Arlington's is not, plotting to do away with Tarzan and causing trouble for everyone concerned.

The supporting players consist of Forrester Harvey reprising his role as Beamish; Doris Lloyd, who also appeared in TARZAN THE APE MAN, assuming another part, that of Madame Feronde; Paul Porcasi as Monsieur Gironde; Desmond Roberts as Henry Van Ness; William Stack as Pierce; and Nathan Curry as Saidi.

The behind the scenes look to the making of TARZAN AND HIS MATE is as interesting as the movie itself. According to sources, there were complications during production, former silent screen matinée idol Rod LaRocque was replaced by Paul Cavanaugh, Jack Conway took over for Cedric Gibbons in the director's chair, having to film much of the movie all over again, as well as technical problems and script revisions. In spite of everything, it finally was completed, being the classic is has become.

A pre-code movie if ever there was one, TARZAN AND HIS MATE was obviously made for the adult masses. It would be another decade before the Tarzan films reverted more to the appeal of children like a Saturday afternoon matinée. Villains are the main factor in much of the series, and Paul Cavanaugh's performance, which might have gone to resident MGM bad guy John Miljan, plays a convincing one. His evilness speaks through his shifty eyes, especially on how he looks at the carefree Jane in her most abbreviated jungle attire as she sucks out snake poison from his forearm. He even forces his intentions on Jane by kissing her on the lips. Another interesting mention is the death of Tarzan's pet monkey, Cheta, midway through the story, while attempting to save Tarzan from a vicious rhinoceros. However, Cheta's offspring, mourning for its mother, is then adopted by Jane, who calls this one Cheta, too.

Action scenes are plentiful, bringing out many highlights, including some well constructed ones including Tarzan's battle against a 14-foot crocodile, he defeating the natives, and leading elephant stampedes. Jane also shows off her courage and skill while facing the dangers of the jungle as she plays dead while being surrounded by lions. Besides the recognized Tarzan yell, Jane gives out her jungle call as well, normally as a distress signal, in the more operatic sounding level, along with Jane's leap from the tree-top into the arms of Tarzan below - acrobatic style. With much of these ingredients and fast pace action, TARZAN AND HIS MATE is in many ways close to being superior to TARZAN THE APE MAN.

TARZAN AND HIS MATE, along with the remaining post 1934 MGM films in the series, were distributed on video cassette during the 1990s, then onto DVD in 2004. This along with the other Tarzan adventures played on the American Movie Classics cable channel from 1997 to 2000, and beginning in 2004, Turner Classic Movies picked up the option in airing the duration of the MGM/ Weissmuller series (1934-1942), making this second entry the most televised thus far. (***1/2) Next installment: TARZAN ESCAPES (1936).