La fuga de Tarzán

As incongruous as it may sound, I'm beginning to detect similar patterns between the "Tarzan" and the "Rocky" series, a hunch I'll use to structure my review of the misleadingly titled "Tarzan Escapes", directed by Richard Thorpe and an uncredited John Farrow.

While the first "Rocky" film is more celebrated, "Tarzan: the Ape Man" is a true American classic nonetheless; marked by the legendary encounter of Tarzan and Jane, Johnny Weismuller and Maureen O'Sullivan who'd form one of the most endearing and enduring couples of Hollywood history just like Sylvester Stallone and Talia Shire with Rocky and Adrian. Their chemistry never inspired dubiousness and contributed to the film's best moments, which is saying a lot. And the second opus of both series marked a romantic culmination and "Tarzan and his Mate" featured some incredibly erotic shots, pinpointing the final breaths of creative freedom before the Hays Code would impose the most suffocating diktats of respectability.

So "Tarzan Escapes" is the "Rocky III" of the series, there's an obvious change of tone that betrays its obedience to the rampant puritanism that will slowly affect American celluloid. Jane has traded her sexy top halter for a more modest clothing item though we're conceded some generous shots on her legs every once in a while. Meanwhile, the plot is just a throwaway excuse to challenge her relationship with Tarzan, some vague cousins need her to come back to London for some financial issues, a rather bland William Henry is the young and well meaning Eric Parker and Rita (Benita Hume) is like a Jane Parker from the first film without the self-confidence, the humor and the perkiness. On the casting department, the cousins are only there to remind us one last (?) time about Jane's roots.

In a much showier role, there's the greedy explorer Captain Fry (John Buckley) who's so eager to help the Parkers to find Jane that we suspect his intentions might not be as pure as he pretends to, and to make the outsiders a tad more colorful and interesting, there's also Herbert Mundin playing Rawlins, the second in command in the comedy department... after Cheetah of course. I knew his face was familiar, he was the actor who flirted with Una O'Connor in "The Adventures of Robin Hood" and was a nice addition to the film, a shame that he died in a car crash a few years later (sadly enough, even Buckley prematurely died in an accident). Finally, speaking of Cheetah, she's more and more present and is obviously the third wheel of the relationships' dynamics like Paulie in the "Rocky" franchise, though Cheetah was probably better-mannered.

That exhaustive description leaves us with Johnny Weissmuller who's as athletic and at the top of his game for what's perhaps the less demanding role for a top athlete; and yet within his limited range of facial expressions and vocabulary (he made some progresses and so did Jane) he's perfect. And the plot, while not exactly revolutionary, is a solid vehicle to the usual characterization of both Tarzan and Jane as the king (and queen) of the jungle... with an exception this time: they have built their castle. They don't live in a cave anymore but in a sort of Flintstones-like treehouse where all the furniture and necessary equipment are available. It's cute in an urbane way, but the way it's all mundanely treated destroys all the values Tarzan proudly stood for: the adaptation not the triumph over nature, the raw and animal manhood conquering the heart of a bourgeois woman who realizes the futility of the Western comfort. Obviously, Jane did to Tarzan what victories did to Rocky... he got civilized... you can tell he doesn't feel comfortable, less than Cheetah anyway who had already made her marks.

And speaking for myself, I had the uncomfortable feeling that the film was distancing itself too much from the original material and it wouldn't get any better. There were still a few reminiscences of the glowing romance between Tarzan and Jane, a magnificent kiss where Tarzan approaches his face and the camera zooms on Jane who, in a state of ecstatic self-abandonment, drops a lotus flowers on a lake. A moment like this makes the film worthy of its predecessor and it was so perfect that the film didn't even need another swimming session.

Another aspect that didn't change either was the usual colonial racism displayed against the Natives and the way their deaths never carry any emotional resonance. I'm waiting for the "Tarzan" film where an African would play a more substantial role. It's true that the villains in the film (so far) are greedy explorers, but this time there's a difference since the standards of life that Jane escaped from in the first, and rejected in the second (the gifts she was offered) have been exported into Tarzan's life, which is a concession from the ape man's part. I can understand that one of the Hays Code' requirements was to establish that the Western civilization is a good, for lack of a better word, but the new house turns it into a joke.

Another more serious "joke" is the misguided and disturbing moment where a lioness is shot because Rita, Jane's cousin cuddled one of her cubs, maybe it was self-defense but the mother was also reacting from instinct. It's very indicative of the attitude of a film wasn't exactly made with the idea that these images would chock in fifty years, just like Tintin's infamous adventures in Congo. And I guess within that naivety, only the romance between Tarzan and Jane emerges as the only reason to enjoy the series, that and a few thrills and comedic effect.

On that level, the ending is perfect and Cheetah's scream is a clever nod to the audience, not to mention one of the best parts of the film.

If I was to summarize my feelings about "Tarzan Escapes" in one sentence, this is what I would write: I *loved* the first two Tarzan films, and I *like* the third film.

"Tarzan Escapes" isn't a bad film, but it's clear that the writers had used up a lot of their imagination on the first two installments. The basic premise is that Jane's cousins Rita and Eric go into the jungle to find Jane. Once again, they head to the Mutia Escarpment (the elephant graveyard), and they commission Captain Fry, along with his comedic friend Rawlins, to lead them there.

The first half of this film is basically kiddie fare. The Rawlins character attempts (but never quite succeeds) at providing comic relief, and the animal scenes are less perilous and more comedic. However, about halfway through the movie, a sudden twist occurs, and the story takes on a much more serious tone. It's not too strong for kids, so they should still enjoy it all. And adults, if they can overlook the bad comedy in the first half, should find the overall film very satisfying.

Tarzan has broadened his vocabulary a bit since the first two films, and his and and Jane's relationship is still sparkling. Cheeta has more of a role in this movie, and they've spiffed up their jungle décor considerably. (Only the castaways on Gilligan's Island have a more deluxe setup without electricity.)

Several of the animal scenes are lifted from "Tarzan and His Mate", so some of the excitement and freshness are lost. But there is still plenty to get excited about. I did notice that the sound quality is much improved. (I had to watch parts of the first two films with subtitles just to understand what they were saying. The sound is much clearer in the third movie.)

Overall, it's a rousing adventure film. It's nice to say hi to our jungle friends once again, and there are enough new elements to be more than just a rehash of the previous stories.

My second Tarzan double-feature slot and the cracks are beginning to show! That said, TARZAN ESCAPES (1936; ***) is much better than online reviews would have you believe: true, there is ample stock footage on display here but it also boasts a strong plot line and cast (featuring Benita Hume, future wife of Ronald Colman and later George Sanders, as well as MGM staple Herbert Mundin and James Whale favorite E.E. Clive, not to mention the villainous John Buckler who comes to a particularly sticky end in this one) to even things out. By now, Weissmuller and O' Sullivan have grown considerably in their respective parts but the influence of the Hays' Office (established while the film was in production, resulting in extensive re-shoots before it could be classified for exhibition!) is also very much in evidence: Tarzan and Jane's behavior (to say nothing of the latter's 'wardrobe') is rather chaste this time around, and even the violence is there mainly by virtue of recycled scenes from the two previous entries in the series!!

TARZAN FINDS A SON! (1939; **1/2), though certainly briskly-paced and fairly enjoyable in itself, is where things really start to degenerate and a sense of deja'-vu hangs over the proceedings like a cloud; not that this factor is an isolated case in franchises of this period – consider, for instance, the noticeable leap in quality from the ornate SON OF FRANKENSTEIN (1939) to a strictly programmer-level THE GHOST OF FRANKENSTEIN (1942)… To make matters worse (though, I guess, this can be pinned down to personal opinion), we have here the addition of another jungle 'initiate' in the figure of Boy who emulates Tarzan in his every move, down to that grating yodel! Besides, his getting into endless predictable scrapes throughout, forcing Tarzan's nick-of-time intervention and queuing in further stock footage from the earlier films (now looking pretty rough-hewn alongside the lavish budgets MGM could afford by the end of the decade!), does the picture no favors at all in the story department!! Logic, too, is casually thrown out the window: the film opens with a plane crash-landing (i.e. before reaching its intended destination), yet when a search party is set in motion (5 years after the fact, conveniently allowing Boy to grow up and become attached to the Tarzans!), its members (invariably harboring an agenda of their own) go directly to the supposedly forbidden/secret part of the jungle where the Lord Of The Apes has set up residence…sheesh!! Once again, the familiar cast-list adds to the fun, though it has to be said that Ian Hunter (usually playing the reliable type) makes for an unconvincing villain in this one.

Tarzan Escapes was released on VHS in the UK by Warner Brothers as part of a box set which also includes Tarzan Finds a Son and Tarzan and His Mate. I enjoyed this one.

Janes cousins, Eric and Rita arrive in the jungle to look for Jane to tell her she has inherited a lot of money. They arrive with Captain Fry, who plans to kidnap Tarzan and have him as part of his freak show. He does manage to get him into a cage but with the help of some of his elephant friends and Cheetah, he escapes and towards the end, gets his revenge when he makes Fry go back into a cave they just went through where there are hungry lizards and Fry is killed.

As always, Johnny Weissmuller and Maureen O'Sullivan are excellent as Tarzan and Jane.

Tarzan Escapes is a must for any Tarzan fan. Great fun.

Rating: 3 and a half stars out of 5.

As a kid I LOVED all Johnny Weissmuller Tarzan flicks, including this one. But one incident has been bothering me all these years; Benita Hume finds two adorable lion cubs in a tree trunk, and as she picks them up in her arms and starts cuddling them, their mother appears rushing menacingly towards Benita. Capt Fry shoots the lioness dead just in the nick of time. What bothers me is that nothing more is said or shown of the two cubs, who, we are to assume, must have perished without their mother's protection and nourishment. My anxiety about the fate of the cubs was rekindled recently when I viewed the DVD version of the film. Another incident which disturbs me is when one of the native bearers tumbles screaming to his death from the precipitous rocky mountain passage; however, before falling he had dropped the large crate of supplies he was carrying, prompting Fry's comment: "That was a close call" (or something to that effect). Never mind that a human being has just perished horribly