Tarzan and His Mate Reviews & Ratings - IMDb IMDb 17 January 2017 8:34 AM, PST NEWS 53 out of 55 people found the following review useful: Tarzan, the GREATEST! from Las Vegas, Nevada 25 October 2003 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! Was the above review useful to you? 35 out of 41 people found the following review useful: Maureen O'Sullivan is irresistible as Jane!

from United States 2 August 2004 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. Was the above review useful to you? 27 out of 27 people found the following review useful: The Adventures of Tarzan and Jane from Kissimmee, Florida 9 July 2005 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). Was the above review useful to you? 25 out of 32 people found the following review useful: The best film of the entire "Tarzan" film series. from Florida, USA 27 May 1999 Maureen O'Sullivan turns in a stunning performance as "Jane", Tarzan's love interest. O'Sullivan's Jane set a new standard for female lead characters - strong, independent, intelligent, and not afraid to accept new challenges and face new dangers.

This is remarkable given that, at the time the film was made, the typical American view was that a woman's place was in the kitchen, yet here we see an attractive, diminutive, well-bred Englishwoman living in the jungle under harsh conditions and loving every minute of it. Several times during the film, a band of explorers try to convince Jane to return to civilization and conform to society's standards, and part of the film's plot revolves around her decision as to whether or not she should leave Tarzan and the jungle life and return to America, which has led some to draw parallels between women deciding between the workplace (a man's world at the time) and the home (a woman's world at the time) and the film's world of the jungle and then-modern society. Johnny Weismuller is cast perfectly for this role. The fact that he's an Olympic swimmer lends credibility to his role as a muscular he-man living with the apes.

While some people have criticized his lack of acting ability (confusing his limited lines to be equivalent with limited acting ability), I've come to the conclusion that he's a natural actor - one who can express a range of emotion with very few words - which is exactly what Tarzan should be. As an athlete, Weismuller is used to expressing himself physically - Weismuller's Tarzan is a man of few words and limited grammar, but his eyes and body language express exactly what he's feeling and thinking. While Jane is the speaker who does, Tarzan is the doer who speaks. Jane is the civilized communicator who is not afraid to dive into a crocodile-infested river. Tarzan is the noble savage who dives into a river and only speaks to clarify what his eyes and hands are saying. The plot is basically this: a band of explorers venture into the jungle to search for the legendary elephant graveyard to find their fortune in ivory elephant tusks. They meet Jane and befriend her, hoping that she and Tarzan will help them in their search.

She convinces Tarzan to guide the hunters, although Tarzan does not feel comfortable with the venture, believing that the hunters should not be violating the sanctity of the animals' graveyards (and the unspoken law of the jungle). Indeed, at one point the hunters wound an innocent animal to track it to a grave. Tarzan decides that the hunters are evil and leaves their safari, though Jane continues on as the hunters provide her with a taste of the civilized life she left behind. We see the conflict in Tarzan between his love for Jane and his love for the animals. We see the conflict in Jane between her love of Tarzan and her memories of civilization. The decisions that the two must make as the movie progresses have been interpreted by some as having hidden meanings and that the film producers were using the Tarzan vehicle to make statements about modern society. But I'll let you watch the film yourself and make your own decisions. One last thing: this is the only film in the series (other than the "Tarzan" film made by John Derek and starring Bo Derek) in which Jane wears a two-piece leather costume.

It's also the only installment (other than the "Tarzan" film by the Dereks) in which Jane becomes nude (but in a non-sexual scene). Trying to persuade Jane to return to civilization, the hunters give Jane a formal evening gown, which she wears to dinner and all through the night. The next morning, as she climbs out of bed still wearing it, Tarzan picks her up and carries her out onto a tree limb over the river. He dumps her into the water while holding onto the dress, so that she falls into the river naked. Tarzan makes no long soliloquy here - he's just expressed his opinion on the whole matter of civilized society quite succinctly. See the film. It's the only "Tarzan" film worth watching (well, in addition to "Greystoke" with Christopher Lambert). Was the above review useful to you? 18 out of 22 people found the following review useful: The Best Tarzan Movie Ever! from Athens, OH 22 May 1999 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. Was the above review useful to you? 16 out of 21 people found the following review useful: A classic adventure film from Staten Island, NY 24 July 1999 There's something wonderful about the fact that a movie made in 1934 can be head and shoulders above every Tarzan movie that followed it, including the bloated and boring 1980s piece Greystoke.

Once the viewer gets past the first three scenes, which are admittedly dull, Tarzan and his Mate takes off like a shot, offering non-stop action, humor, and romance. Maureen O'Sullivan is charming and beautiful as Jane and walks off with the movie. Weismuller is solid as well. Highly recommended. Was the above review useful to you? 12 out of 14 people found the following review useful: one of the best adventure films then and now from Vancouver, Canada 2 August 2005 As noted by other reviewers this is one of the best Tarzan movies. Unlike others however, I like the beginning of the film as it feels like a pretty accurate depiction of what a trading post must have been like. Plus the exposition is needed so we know why Harry wants to go back into the jungle. In addition the beginning of the film contains one of the most thrilling and terrifying chase sequences ever made.This occurs when Harry's safari group has to outrun a tribe of cannibals. The pre-censorship production values add a lot of realism, genuinely depicting the terrible dangers that awaited Europeans going into the jungle.

The film also offers, though perhaps antecedently, an accurate account of how horribly treated the native Africans were by their white employers. In addition sexy Jane, thousands of elephants , some great sets and two chetas! Not to be missed an adventure classic. Was the above review useful to you? 11 out of 13 people found the following review useful: Action! Romance! Heroic Monkeys! from Brooklyn, NY 14 July 2004 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. Was the above review useful to you? 19 out of 29 people found the following review useful: This Tarzan Film Just About Has It All, Including Skin from United States 18 October 2006 Considered by almost all the critics to be the best of the Johnny Weissmuller Tarzan films, I have no argument with that, although there are a couple of others I thought just as entertaining. One thing: it's the longest of the series that I've seen at 105 minutes. I've only seen six of them but this was longer than I'm used to and with the drawn-out action finale I thought the whole thing was a bit too long. Nonetheless, it is a good mixture of action, suspense and romance. The only things missing are color and stereo sound. The primitive special-effects don't bother me, as that was all that they had back in the 1930s. Among some, this film is most noted for one thing: skin!

"Jane" never wore anything this skimpy after this film as the Hays' Code was instituted by the time the next Tarzan film was made. Her outfit showed what a great figure Maureen O'Sullivan possessed. The nude underwater scene, however, was not her - by a longshot. The woman under the water didn't have a good figure at all, whoever it was. There is plenty of action in here. Up to the finale, it was not overdone, either. The ending went on for 15 minutes, though, and was so intense that it was almost too much to watch. Still, this movie offers about everything - except "Boy" (their adopted son) - you'd want to see in a Tarzan film, even O'Sullivan doing her Tarzan yell about a dozen times. With her pair of "lungs," that was no problem. Was the above review useful to you? 8 out of 8 people found the following review useful: Pre-Code Adventure Excellence. from United Kingdom 16 April 2014 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 Was the above review useful to you? Page 1 of 6: ERBzine 0611: Tarzan the Ape Man TARZAN THE APE MAN Maureen O'Sullivan BACKGROUND NOTES In 1931 Metro-Goldwyn-Mayer was in possession of much leftover jungle location footage from their very successful Trader Horn film . Ralph Rothmund of ERB, Inc. suggested that all this African footage might be used for a Tarzan film. Metro agreed and, acting under Louis B. Mayer's instructions, young production head Irving Thalberg obtained rights from ERB Inc. for two Tarzan films. The next step was to send director William S. Van Dyke in search of an actor to portray the apeman. During this star search, "Woody" Van Dyke often said, "What I want is a man who is young, strong, well-built, reasonably attractive, but not necessarily handsome, and a competent actor." Van Dyke tested hundreds of athletes and most of the leading men of the day until he found Herman Brix, an All-American football star and Olympic medal winner.

Before Brix could be signed, however, he broke his shoulder during production of his first picture, Touchdown, and the search was on again. Meanwhile, the project screenwriter, Cyril Hume, recommended another athlete, Olympic swimming champion Johnny Weissmuller. Weissmuller was offered the role, but first MGM had to make arrangements with BVD who had him under exclusive contract to endorse their line of swim trunks. Metro and Burroughs also had to deal with delaying film producer Sol Lesser's dormant 1928 option for five Tarzan pictures, a contract that was ruled binding by the courts. For the role of Jane, Thalberg chose lovely twenty-year-old Irish actress, Maureen O'Sullivan. This proved to be a brilliant piece of casting as the fair, dark-haired, curvaceous beauty was as feminine as Weissmuller was masculine. ERB noted that she added quite a bit to the picture and that she was far more attractive off the screen than on, "which is unusual for motion picture actresses." For comic effect, a chimpanzee was hired to play the part of Tarzan's friend and confidant, Cheetah.

In addition to the chimp, the film's million dollar budget permitted Van Dyke to gather a large menagerie of exotic wildlife for the production. Film scholar and author, Jerry Schneider, notes in Edgar Rice Burroughs and the Silver Screen: Vol. II : "The majority of the film was shot utilizing the sound stages and Lot 1 at M-G-M, Culver City. At the west end of Lot 1 were the river/lake and the Mutia Escarpment rocks (aka "Tarzan" rocks). Lake Sherwood was used for the sequence involving the hippos attacking the safari rafts. Adjacent Sherwood Forest was utilized for the tree swinging scenes, accomplished by The Flying Codonas aerialists. The Iverson Movie Location Ranch appears in the films final scenes where Holt says goodbye to Tarzan and Jane." . . .

On April 15, 1931, Burroughs signed a contract with Metro-Goldwyn-Mayer which ï¿½grants rights to Metro to write an original story using character of Tarzan ï¿½ Author to point out any material which conflicts or infringes upon any story heretofore written by author ï¿½ï¿½ They paid Burroughs $20,000 plus ï¿½$1,000 per week for each of five weeks of authorï¿½s servicesï¿½. In an October 13, 1931, Variety news item, it stated that ï¿½Studio, buying only the right to use the title ï¿½Tarzanï¿½ is writing a story entirely different from any of the Burroughsï¿½ yarns for the new edition. M-G is also restrained from using any of the character names in the books." The Trader Horn footage was used to good effect through rear projection and inserts and Van Dyke used an adept mix of scenery, animal shots, humour, action and cinema tricks to make a film that would please critics and audiences of all ages. The picture was filmed in five months.

The film's storyline took many departures from ERB's Tarzan of the Apes. There was little reference to the apeman's origins and he was changed from an intelligent well-spoken English lord into an oafish, inarticulate apeman. One reason the MGM Weissmuller Tarzans were different from the book versions was because of the contract MGM had with ERB which stated in part: ERB "grants rights to Metro to write an original story using character of Tarzan . . . Author to point out any material which conflicts or infringes upon any story heretofore written by author..." In other words, M-G-M purchased the name "Tarzan" and created their own storyline. In exchange for substantial royalty cheques, Burroughs now seemed quite willing to give up his long, ongoing feud with Hollywood over the liberties taken with his original view of Tarzan that he often had found objectionable in earlier years. In fact, he made a public statement to MGM: "Now that I have seen the picture I wish to express my appreciation of the splendid job you have done. This is a real Tarzan picture. . . . Mr. Weissmuller makes a great Tarzan.

He has youth, marvelous physique and magnetic personality." Nor did he quibble over how MGM had changed the pronunciation of "Tarzan" from TAR-zn to Tar-ZAN. Daughter Joan Burroughs revealed: "Dad found it hard to reconcile himself to the movie versions of the Tarzan stories, and never did understand the movie Tarzan. He wanted Tarzan to speak like an educated Englishman instead of grunting. One time we saw a movie together and after it was all over, although the audience seemed enthusiastic, my father remained in his seat and kept shaking his head, sadly." When released in March of 1932 the film was an immediate popular and critical sensation becoming one of the top ten box office hits of the year. Johnny Weissmuller, despite, or maybe because of, his naked physique, was hailed as the biggest new star of the early '30s. Tarzan fever had hit and the ERB media blitz had begun: more films and novels, Sunday and daily comic strips, comic strip reprints in various book compilations, new magazine appearances - pulp and slick, radio shows, Tarzan clubs, advertising promotions, trading cards, toys, articles, and imitators galore.

TRIVIA The day after ERB, Inc. general manager, Ralph Rothmund, firmed the MGM/Tarzan deal, ERB celebrated by buying five cars -- one for each member of his family. Weissmuller wives: Tarzan the Ape Man (1932) - IMDb IMDb There was an error trying to load your rating for this title. Some parts of this page won't work property. Please reload or try later. X Beta I'm Watching This! Keep track of everything you watch; tell your friends. Error Tarzan the Ape Man ( 1932 ) Passed | A trader and his daughter set off in search of the fabled graveyard of the elephants in deepest Africa, only to encounter a wild man raised by apes.

Director: Edgar Rice Burroughs (based upon the characters created by), Cyril Hume (adaptation) | 1 more credit » Stars: From $2.99 (SD) on Amazon Video ON DISC a list of 21 titles created 03 Dec 2010 a list of 30 titles created 04 Dec 2010 a list of 25 titles created 13 Nov 2011 a list of 27 titles created 05 Apr 2015 a list of 24 titles created 9 months ago Title: Tarzan the Ape Man (1932) 7.2/10 Want to share IMDb's rating on your own site? Use the HTML below. You must be a registered user to use the IMDb rating plugin. 1 win & 3 nominations.

See more awards » Photos Directors: Cedric Gibbons, Jack Conway, and 1 more credit » Stars: Johnny Weissmuller, Maureen O'Sullivan, Neil Hamilton Directors: Richard Thorpe, John Farrow, and 3 more credits » Stars: Johnny Weissmuller, Maureen O'Sullivan, John Buckler Tarzan and Jane go to New York to rescue Boy after he is kidnapped into a circus. Director: Richard Thorpe Tarzan's jungle home, and his family, Jane and Boy, are threatened by men greedy for gold. Director: Richard Thorpe Zandra, white princess of a lost civilization, comes to Tarzan for help when Nazis invade the jungle with plans to conquer her people and take their wealth. Tarzan, the isolationist, ... See full summary » Director: Wilhelm Thiele A letter from Jane, who is nursing British troops, asks Tarzan's help in obtaining a malaria serum extractable from jungle plants. Tarzan and Boy set out across the desert looking for the ... See full summary » Director: Wilhelm Thiele A group of archaeologists asks Tarzan to help them find an ancient city in a hidden valley of women. He refuses, but Boy is tricked into doing the job.

The queen of the women asks Tarzan to help them. Director: Kurt Neumann An African tribe devoted to the leopard cult is dedicated to preventing civilization from moving further into Africa. Tarzan fights them when the cult first attacks a caravan and next ... See full summary » Director: Kurt Neumann Boy is away at school in England. The high priest is trying to force a young girl to marry an evil pearl trader posing as the god Balu. She escapes, is recaptured and is finally rescued by ... See full summary » Director: Robert Florey A shortage of zoo animals after World War II brings beautiful animal trainer Tanya, her financial backer and her cruel trail boss to the jungle. After negotiating a quota with the native ... See full summary » Director: Kurt Neumann A shipping disaster in the 19th Century has stranded a man and woman in the wilds of Africa. The lady is pregnant, and gives birth to a son in their tree house. The mother dies soon after. ...

See full summary » Director: Hugh Hudson Tarzan (Lord Greystoke), already well educated and fed up with civilization, returns to the jungle and, more-or-less assisted by chimpanzee Cheetah and orphan boy Jai, wages war against poachers and other bad guys. Stars: Ron Ely, Manuel Padilla Jr., Rockne Tarkington Edit Storyline James Parker and Harry Holt are on an expedition in Africa in search of the elephant burial grounds that will provide enough ivory to make them rich. Parker's beautiful young daughter Jane arrives unexpectedly to join them. Harry is obviously attracted to Jane and he does his best to help protect her from all the dangers that they experience in the jungle. Jane is terrified when Tarzan and his ape friends first abduct her, but when she returns to her father's expedition she has second thoughts about leaving Tarzan. After the expedition is captured by a tribe of violent dwarfs, Jane sends Cheetah to bring Tarzan to rescue them... Written by Gary Jackson <garyjack5@cogeco.ca> A Glorious New Thrill!

See more » Genres: 2 April 1932 (USA) See more » Also Known As: Tarzan, the Ape Man See more » Filming Locations: Mono (Western Electric Sound System) Color: Did You Know? Trivia Apparently, the chimpanzees were supposed to be the baby apes and actors in ape costumes were the adults, a practice that was dropped after this film (one of the men who played the apes was Ray Corrigan ). See more » Goofs Tarzan is stalked by a lioness in the trees. Lions rarely climb trees except to escape heat and insects or poach a kill of another predator. See more » Quotes [Tarzan has mischievously pulled Jane into a lake] Jane Parker : That wasn't a bit charming! You're just like a nasty little boy! [Tarzan playfully dunks her under the water] Jane Parker : Oh Tarzan! Please let me go! (Saint Paul, MN) – See all my reviews 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. 22 of 32 people found this review helpful. Was this review helpful to you? Yes Movie Review - - FILM: 'GREYSOKE,' TARZAN IN AFRICA AND ENGLAND - NYTimes.com FILM: 'GREYSOKE,' TARZAN IN AFRICA AND ENGLAND By VINCENT CANBY Published: March 30, 1984 FROM the most unlikely source material comes the season's most unexpected, most invigorating surprise, ''Greystoke: the Legend of Tarzan, Lord of the Apes,'' a huge, lavishly produced period film that is part adventure, part comedy of manners and part somber melodrama. Hugh Hudson, director of the Oscar-winning ''Chariots of Fire,'' and his associates have made something much more than a good fantasy.

They have discovered reserves of feeling and beauty in the old Edgar Rice Burroughs tales that remained unexplored by Burroughs himself and by the dozens of journeymen who have been cranking out Tarzan movies and television serials over the years. ''Greystoke,'' which opens today at the Criterion and other theaters, is also a little weird, at least as far as Tarzan movies go. It's a highly romantic, Pop variation on the ''wolf boy'' story considered in such austere fashion by Francois Truffaut in ''The Wild Child.'' At the same time, it's an unusually intelligent and serious entertainment for the mass market. The sheer physical scope of the film, as well as the abrupt, rough, explicit bloodiness of some of the jungle material, have little to do with the ''me Tarzan, you Jane'' fantasies that have been with us virtually since Burroughs published ''Tarzan of the Apes'' in 1914.

Burroughs went on to write a couple of dozen sequels that, in turn, served as the inspiration for any number of Tarzan movies featuring everyone from Elmo Lincoln (1918) to Miles O'Keefe (1981), though the late Johnny Weissmuller is the Tarzan most of us remember most vividly. ''Greystoke'' isn't in competition with its predecessors. It's a different order of fiction entirely. Among other things, it doesn't leave much room for sequels. The fine screenplay, credited to P. H. Vazak, said to be the pseudonym for Robert Towne, who conceived the project, and Michael Austin, is nothing if not comprehensive. It opens in 1885 in Britain, at the great country house - a palace, really - of the sixth Earl of Greystoke (Sir Ralph Richardson), as his son, Lord Jack Clayton, is preparing to leave for Africa, taking with him his pregnant, young wife, Lady Alice. In the leisurely fashion of 19th-century fiction, the film thus recounts the background of Tarzan, whose parents, the Claytons, are subsequently shipwrecked on the Ivory Coast.

There, six months later, Tarzan is born and, on the death of his parents, adopted by a large family of carefully characterized chimpanzees who are loving, short-tempered, extremely protective and given to practical jokes. In some of its most remarkable footage, ''Greystoke'' shows us Tarzan's growing up from infancy to childhood, adolescence and manhood. Shortly after his adoptive mother is killed by pygmies, Tarzan comes upon a wounded Belgian explorer, Capt. Phillippe D'Arnot (Ian Holm), and nurses him back to health. It is D'Arnot who finally identifies Tarzan and takes him to England, where approximately one-third of the film is set. People who think of Tarzan movies as being synonymous with the Dark Continent of B-fiction, with playful chimpanzees as comic relief, with lost cities of gold and elephants' graveyards, may not be pleased by the long sojourn of ''Greystoke'' in Edwardian England. They may also be shocked that the name ''Tarzan'' is never spoken in the movie.

Until D'Arnot identifies him, he is not called anything by the apes, who communicate in a series of grunts, growls, beeps and whinnies not translated by English subtitles. Not until he is home at Greystoke does he receive a name, Lord John Clayton, heir to his grandfather's title. The most inspired invention of Mr. Hudson and the writers is the creation of the character of the old earl who, as played by Sir Ralph in one of his most moving and wise performances, dominates the film. That this was to be Sir Ralph's last film performance before his death makes it all the more moving, though it would have been one of the highlights of his film career in any case. Almost as good is Mr. Holm, nominated for an Oscar for his work in ''Chariots of Fire,'' as the man who, with patience, humor and understanding, introduces Tarzan to the spoken language - first French, then English - and the ways of civilized society.

This Tarzan's Jane is the old earl's American ward, charmingly played by Andie MacDowell, who abandons her elegant English suitor (James Fox) to fall into a discreet affair with Tarzan at Greystoke. One of the film's most offbeat and funny moments is when Tarzan - apelike, on all fours - sneaks into Jane's bedroom late one night to consummate his courtship. Will he tear her clothes off, chew her neck or indulge in some other mating practice frowned upon by upper-crust Edwardians? The audience has a right to be genuinely concerned. A new actor named Christopher Lambert, born of French parents in New York and raised in Switzerland, is very good as the long-lost heir, of whom it can be asked, ''You can take the English lord out of the jungle, but can you take the jungle out of the English lord?'' Mr. Lambert, a handsome young man with strong, brooding features, is remarkably believable and affecting both as the naked ape of Africa and then as the uncomfortable aristocrat, who tries desperately to fit in with his new family.

That this Tarzan is supposed to be a great mimic provides the movie with some of its comedy as well as with its very real pathos. The film's penultimate sequence, in which Tarzan goes berserk after an unfortunate encounter with an old African friend at London's Natural History Museum, packs an emotional wallop rare even in far more sober- sided movies. The African sequences, shot in Cameroon, are of stunning, steamy beauty, but no more effective than the British locations, including the old earl's vast estate, which is made up of three of Britain's greatest houses, including Blenheim. John Alcott's photography provides a visual equivalent to the film's stately narrative style, full of majestic camera movements that suggest something of what we take to have been the pace of the Edwardian era. Mention should also be made of the work of Rick Baker, who designed the ape makeup; Peter Elliot, who is listed as ''primate choreographer,'' and Roger Fouts, ''primate consultant.'' Real chimpanzees and small human actors in champanzee suits are so effectively integrated that, I suspect, only a sharp-eyed, fault-finding chimp could tell which is which.

''Greystoke'' runs for something more than two hours, but there's not a dull moment in the film. However, there are indications at times that the original footage has been truncated, which sometimes results in major scenes being played without a proper buildup. These aren't reservations, but observations. ''Greystoke'' is one of the most thoroughly enjoyable films of its kind I've ever seen. ''Greystoke,'' which has been rated PG (''parental guidance suggested''), contains some brutally effective scenes that may disturb parents as much as children. A Title at Last GREYSTOKE: THE LEGEND OF TARZAN, LORD OF THE APES, directed by Hugh Hudson; screenplay by P. H. Vazak and Michael Austin, based on the story ''Tarzan of the Apes'' by Edgar Rice Burroughs; photographed by John Alcott; film editor, Anne V. Coates; music by John Scott, Elgar, Boccherini and D'Albert; produced by Mr. Hudson and Stanley S. Canter; released by Warner Bros.

At Criterion Center, Broadway and 45th Street; Beekman, Second Avenue and 65th Street; Murray Hill, 34th Street, near Third Avenue, and other theaters. Running time: 129 minutes. This film is rated PG. Lord GreystokeRalph Richardson Capt. Phillippe D'ArnotIan Holm John Clayton, Tarzan Lord of the Apes Christopher Lambert Jane PorterAndie MacDowell Lord EskerJames Fox Jeffson BrownIan Charleson Maj. Jack DowningNigel Davenport Lord Jack ClaytonPaul Geoffrey Lady Alice ClaytonCheryl Campbell Sir Hugh BelcherNicholas Farrell OllyColin Charles RubyElaine Collins Boat captainDavid Endene Captain BillingsRichard Griffiths WhiteTristam Jellineck OlivestoneRoddy Maude-Roxby WillyHilton McRae Sir Evelyn BlountJohn Wells Tarzan at 12Eric Langlois Baby TarzanTali McGregor Tarzan at 5Daniel Potts DeanRavinder IrisHarriet Thorpe BullerDavid Suchet

Question: Who is credited with inventing the Tarzan yodel?
Answer: Johnny Weissmuller