Tarzan, l'homme singe

This week I also watched the first two entries in the MGM Tarzan series by way of Warner's elegant 4-Disc Set. I actually took some persuading to purchase these films (the very positive online buzz is what got me), and I finally relented some time ago thanks to a generous 20% sale on the part of Deep Discount DVD!

Anyway, I was pleasantly surprised by them: solid (though primitive) production values, a bevy of exciting action sequences, and gleeful doses of eroticism and sadism made for great (if somewhat repetitive) fun. Johnny Weissmuller and Maureen O' Sullivan created a wonderful (and spontaneous) rapport and generally inhabited their roles very nicely, making them the screen's definitive incarnations of these characters.

TARZAN AND HIS MATE (1934; ***1/2) edges the original slightly because of the former's (necessary) tendency towards exposition: the sequel dives straight into action (though, curiously enough, it still takes quite a bit before Tarzan makes an appearance!) but also features lecherous villainy from Paul Cavanaugh and even takes time to develop the lovable personality of Cheetah (especially in a lengthy sequence where it is beset by assorted creatures while journeying through the jungle to alert Tarzan of the [invariably] impending danger)…and then, of course, there's that famous nude swimming scene! The lion-infested finale, too, is every bit as remarkable as the pygmy sequences at the climax of TARZAN THE APE MAN (1932; ***) – if anything, it's even more ambitious.

It's a pity, therefore, that the special effects (once considered ground-breaking) have not withstood the test of time: innumerable back-projection shots, the conveniently-placed (and thinly-disguised) series of trapeze which allow Tarzan to swing from one tree to the other, all-too-fake snakes and alligators, the rotoscoping of lions into a scene to make them appear as if they were fighting elephants, etc. Unfortunately TARZAN AND HIS MATE (and probably all the others that follow) took a ridiculous turn by having Jane mimic the famous Tarzan cry/yodel, which I felt to be an unwise decision on the part of the studio! Still, I do look forward to the rest of the series, hoping that they're at least as entertaining (even if reviews claim production values got progressively more lavish, and thus unrealistic, and the plots cornier).

TARZAN THE APE MAN was one of Irving Thalberg's 'pet' projects at MGM, an opportunity to take an existing franchise (Edgar Rice Burroughs' jungle lord had been a film staple since beefy Elmo Lincoln donned a loincloth, in 1918), give it 'A'-list production values and a 'name' director (W.S. Van Dyke), introduce charismatic actors as the leads (28-year old multiple Olympic champion Johnny Weissmuller and 21-year old Irish import Maureen O'Sullivan), and create a 'definitive' success for the studio.

A success? Thalberg created a legend!

Utilizing MGM's vast library of stock footage (primarily from 1931's TRADER HORN), a primordial Africa that was more pulp fiction than reality was created on the back lot, and veteran British character actor C. Aubrey Smith and 20s matinee idol (and future 'Batman' regular) Neil Hamilton were introduced, as James Parker and Harry Holt, adventurers questing after the legendary 'Elephants' Graveyard'. The arrival of Parker's daughter, Jane (O'Sullivan), a free-spirited, raven-haired beauty, complicates matters, but her stubborn refusal to lease, and confidence with the natives (shown as rear projections behind Smith and O'Sullivan) finally win the two men over, and soon the trio, accompanied by whip-induced native labor, are on safari.

When a dying porter points the way to the Escarpment, a massive 'taboo' mountainous plateau protecting the Graveyard, the party has the missing piece to the puzzle, and begin an arduous climb to the top. (How a massive mountain range could be hidden, for so long, is not explained). After losing a porter, and nearly Jane, on the steep climb, the summit is achieved, and the famous Tarzan yell (a combination yodel/howl, created by MGM's sound department), is first heard. A treacherous river crossing, featuring stock footage of hippos and crocodiles, then costs the safari more bearers, with another yell saving their lives.

All this leads up, of course, to Johnny Weissmuller's first appearance as Tarzan, observing the party from the trees. He is simply magnificent...tanned, slim, smoothly-muscled (as opposed to the brawny body builders later cast in the role) and nearly naked. He soon kidnaps Jane (he may be ignorant, but he's not dumb!), and the incredible chemistry between the pair is exhibited for the first time. While initially terrified of the savage (particularly as he pulls off her clothing parts to examine them), he doesn't 'have his way' with her, and she realizes he is far more sensitive than she'd assumed.

Holt kills the ape guarding Jane (one assumes it is Kala, ape 'mother' of Tarzan, in the ERB books), and Tarzan screams in anguish at his loss. Displaying the racism prevalent in so many 30s films, Jane tries to defend her erstwhile kidnapper to her father ("He's WHITE!"), but the two hunters aren't buying it, and soon wound Tarzan, himself. Jungle animals spirit the bleeding jungle lord away...and Jane is soon at Tarzan's side, bandaging his head, and looking lustily at the big lug! When he recovers, the pair consummate their passion (in a scene tastefully off-camera), and are swapping names ("Jane...Tarzan...Tarzan...Jane").

Tarzan returns Jane, and walks away, despite her pleas to return to civilization with them. The safari is soon captured by a height-challenged native tribe ("Are they Pygmies?" Jane asks; "They're dwarves," her father replies...uh, whatever...), and a gruesome scene ensues of the surviving members being lassoed and dropped into a pit with a giant gorilla (a not-quite convincing guy in an ape suit). Holt is knocked unconscious, Parker is mortally injured, Cheeta is tossed against a wall, and Jane swoons in the gorilla's arms (shades of KING KONG), then Tarzan busts in, to kill the ape and save them all. As the ever-available stampede of elephants mash the dwarves into pulp, Tarzan leads the dying Parker, Jane, and Holt to the 'Elephants' Graveyard', where Jane's father passes away. Holt returns to civilization (he would return in the sequel, TARZAN AND HIS MATE) and Tarzan, Jane, and a recovering Cheeta start an exciting new life together!

Yes, the story is unintentionally campy, the 'apes', and animal fights, unconvincing, and there is blatant racism throughout the film. But as sheer entertainment, Depression-era audiences were enthralled. Weissmuller and O'Sullivan conveyed the kind of eroticism that pre-Code Hollywood was notorious for (and would reach even greater heights in the sequel), the action sequences were spectacular, and a new MGM franchise was born, that would produce six more films over the next nine years.

Thalberg had again proven why he was considered the film industry's resident genius!

Johnny Weissmuller,the former Olympic champion in swimming,makes his debut as Tarzan.The movie spawned a lot of sequels and Weissmuller continued as Tarzan for 11 more films during the next 16 years. I had seen this early and somewhat primitive talkie a couple of years back and found it hard to sit through.I decided I'd give it another chance and was surprised at how much more I enjoyed it.Weissmuller is stunning, he fits the part excellent and looks amazing.There's screen charisma by the thousands.Maureen O' Sullivan as Jane really made the role her own.The African footage, shot during the making of "Trader Horn" is exciting and must have been worth the ticket on its own back in the thirties.There's some bad rear-projection used,but it doesn't spoil the movie if you don't let it bother you. So enjoy this entertaining film.

Ivory hunters James Parker (C. Aubrey Smith) and Harry Holt (Neil Hamilton) are in Africa searching for a mythical elephant burial ground when Parker's daughter Jane (Maureen O'Sullivan) arrives unexpectedly. Despite her father's objections, Jane insists on accompanying them on their expedition. During their journey they are shocked when they see a half-naked white man (Johnny Weissmuller) living among the apes. The ape man kidnaps Jane and takes her to his home in the treetops, where she learns that his name is Tarzan.

Edgar Rice Burrough's Tarzan is one of the most-filmed characters in movie history. Live action or animation, there have been tons of adaptations and they continue to this day. Well, for my money, none beats the Johnny Weissmuller series at MGM (and later RKO). They were exceptional adventure stories, sheer fun for young and old alike. Like most film series, the earlier movies in the Tarzan series are the better ones, starting with this first film.

Olympic swimmer Johnny Weissmuller does a fantastic job as Tarzan. He was obviously cast for his looks and athleticism but he brings a sensitivity to the part that's unexpected. He plays him as a laconic man-child, innocent and peaceful until the things he cares about are threatened. That famous yell of Tarzan's is unforgettable. Maureen O'Sullivan is charming and easy to fall in love with. Her performance is so effortless and real for this period in film. She elevates every scene and makes whoever's acting opposite her give more relaxed performances, as well. She has playful and at times sizzling sexual chemistry with Weissmuller. She also has a nice familial chemistry with C. Aubrey Smith. Their scenes have an authenticity about them that is rare to see but is appreciated. The success of the early Tarzan series owes as much to Maureen's Jane as it does to Johnny's Tarzan. Neil Hamilton, an actor most will remember as Commissioner Gordon from the '60s Batman TV show, does fine playing the part of the guy in love with Jane but can't compete with the rugged but kind Tarzan.

Let's not forget this is a Pre-Code movie. Maureen appears scantily clad and even wearing a soaking wet thin dress in one scene. And, of course, Weissmuller wears nothing but a loincloth throughout. Being that it was filmed in 1932, there is some inevitable creakiness, an overuse of stock footage, and some spotty rear projection effects. But these things are minor negatives. The action scenes are great. Tarzan wrestling with an obviously stuffed leopard may seem hokey to many modern viewers, but it holds a certain quaint appeal for me. The animals are fun. Who doesn't love Cheeta? The matte painting backdrops are also nice. It's exciting romantic escapism with a good cast and solid direction from Woody 'One Take' Van Dyke. Followed by many sequels, the first of which is even better than this classic.

This is the first of the MGM Tarzan films featuring Olympic medalist Johnny Weismuller in the titular role. It is new out on DVD, in a box set that contains the first six (out of twelve) that he would make. His co-star in these first six films (though I think she disappears in the latter six) is Maureen O'Sullivan, one of the greatest beauties Hollywood ever knew. They are the perfect Tarzan and Jane. Tarzan the Ape Man is extraordinary. The second film of the series, Tarzan and His Mate, is an acknowledged masterpiece of the adventure drama, but I'd almost rank Ape Man aside with it. It is beautifully done in every way, fun and exciting, but also at lengths gentle, charming, and downright erotic. There's a long scene where Tarzan and Jane play in the water. It's so sweet and so sexy. There's hardly any background music to the film, which sets it apart from many in its era that overused their musical scores. Long scenes are played out silently. There is no attempt to make up for a lack of dialogue. Of course, since this is the first time Tarzan meets men (at least white men), he doesn't speak much except for a few grunts to his chimpanzee buddies. It's quite amazing how much attention and care is put into the way Tarzan behaves, how he has become chimp-like. I also begin to notice with this film how good an actor Johnny Weismuller is. Tarzan the Ape Man is really a wonderful film. The new box set is absolutely a must-have. 10/10.