Tarzan et sa compagne

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.

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!

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).

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.