input: This splendidly-directed fantasy is the second in the popular by flawed Tarzan series put out by MGM. It is a first-class adventure for many reasons, I suggest--fine photography, strong imaginative qualities, a delightful cast, good simulated-jungle locales and a very exciting storyline. Johnny Weissmuller plays Tarzan, a mono-syllabic untutored sort unlike Edgar Rice Burroughs' creation; but he is honest, loyal, brave and very courageous, and he needs to be during this narrative. As Jane Parker, his wife who had been Jane Porter in the novels, Maureen O'Sullivan is very attractive and lively, as well as being athletic where the script calls for that quality. The effect of the lighting, the spacious and clever sets is quite unusual. This is an outdoor adventure filmed on the MGM back-lot which really works. The fabulous Mutir Escarpment is a remote locale which allows Tarzan and Jane to live undisturbed; but into their idyll come people searching from them, emissaries of a civilization Jane has left behind and into which Tarzan could not really be comfortably habituated. One is Harry Holt, still in love with her, who with his friend tempts her to come back to civilization with him; the gown and perfumes interest her, but she refuses to leave Tarzan. Tarzan has to protect her against several wild animals, in scenes that look like a humanized King King. The group claim to want to hunt animals, and Tarzan agrees for Jane's sake to a bit of big game trapping; but at some point, the idea of ivory and of obtaining a fortune turns the expedition's heads' minds. Tarzan is shot, left for dead; and the group force Jane to accompany them on an expedition as they follow a dying elephant to the fabulous "elephant's graveyard". But they find the area guarded by a savage tribe and are attacked by lions. Tarzan rides in on an elephant he has revived in time to call; in a most spectacular elephant-filled scene, he saves Jane and what is left of the expedition, who return home little richer but much wise, as Jane continues her savage idyll with her new husband. The film was directed by set-design wizard Cedric Gibbons, and quite beautifully too. His work and the lighting are the outstanding accomplishments of this entertaining and exciting film,which manages to seem real despite all its Hollywood shortcomings from start to finish. Neil Hamilton is a very good Harry, Paul Cavanagh is even better before and after he reveals himself to be thoroughly bad. Forrester Harvey and Nathan Curry round out a small cast very professionally. An unusual and well-realized fantasy film with interesting situations and some strong dialogue confrontations as well. Recommended.

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pos/neg ans: positive

input: *****THIS REVIEW MAY HAVE SPOILERS - but that determination would be negligible in such a classic and well-known story*****

The CINDERELLA story ranks as my favorite fairy tale. The world will never have enough of this wonderful tale.

The problem is that everyone wants to tell their own version of the tale. This cannot work if the story deviates or attempts to throw some interesting ideas together with some magical photography and scrumptious looking production designs with poor direction and editing.

This Cinderella story is more like an Ugly Duckling that never hatches or rather, is never transformed into a swan.

All the production value that money can buy, cannot purchase good cinematic timing and dramatic development - or good acting.

The entrance of Cinderella at the ball as so poorly done, there was no drama of anticipation nor excitement of discovery.

The writing made me very nervous, too. The Prince Charming was the most undesirable of memory. Why would any girl want to marry a boorish, self-absorbed prince who disliked women?

Turner's turn on the Stepmother role was an embarrassingly painful showing that demonstrated one-liners more than acting nuance.

Even the Cinderella part held little interest or sympathy.

Perhaps only one sentence will describe this attempt: So cheaply '90's,

What MUST be mentioned and mentioned in shameful excess is the glorious photography, matte work and production design. It was a pleasure to peruse the landscapes, sets and settings as the story unfolded.

For some Cinderella storytelling, go for two gems:

1) Rodgers and Hammerstein's Cinderella Musical with Lesley Ann Warren. Even with the obvious stagey TV - 60's look to the sets, this is the best version on celluloid - bar none. An all star cast makes every effort to provide the highest entertainment. Engaging, diverting and memorable writing and music. This is the classic.

2) Ever After- this Drew Barrymore gem maintains the historical perspective, alters the story line but not enough to derail the effective development of the salient points of this classic tale. The characters of the principals and of all of the supporting roles were written smartly and acted well.

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pos/neg ans: negative

input: Good performances can't save this terrible script, larded with every cliche in the chick-flick book. Both main characters are deeply unsympathetic, and the scene where Laura Linney's character reminisces about sex with her dead husband in front of her teenage son -- which I think is supposed to be poignant -- is just horrifying.

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pos/neg ans: negative

input: Just as "ITS A MAD, MAD, MAD, MAD WORLD" is at the top of my list for all time greatest comedies ever made, this one is at the very bottom. (Of course, I could be wrong-not having seen "SAVING SILVERMAN") In other words, it's a lame, lame, lame, lame comedy.

Rating: 1/2* out of *****

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pos/neg ans:
negative