Sequels used to be made from the earliest days of Hollywood, including the era of Classic Hollywood. But, like now, they weren’t particularly appreciated and film series from the period isn’t likely to be remembered, extensively studied in film schools or remain important part of popular culture. The notable exception is the film series started with Tarzan the Ape Man, 1932 adventure film directed by W. S. Van Dyke.
The film is based on the eponymous novel by Edgar Rice Burroughs, the first in the series dedicated to Tarzan. The plot begins at trading station in Africa run by Englishman James Parker (played by C. Aubrey Smith). He and explorer Harry Holt (played by Neil Hamilton) have heard of half-mythical elephant graveyard which contains ivory worth millions of pounds. When Parker’s daughter Jane (played by Maureen O’Sullivan) arrives from London, she, on the account of being a good shot, joins their expedition. After dealing with dangerous wild beasts and crossing into jungle, expedition meets mysterious half-naked white man named Tarzan (played by Johnny Weissmuller). He abducts Jane and takes her to his lair, where he lords over large apes. Jane gradually begins to like her new home and falls in love with his captor. However, Tarzan, when confronted with Parker and Holt, reluctantly agrees to return Jane. When expedition falls into the hands of hostile pygmy tribe, it is Tarzan who would, thanks to his of control of animals, would save them.
Tarzan the Ape Man wasn’t the first screen adaptation of Tarzan novels. During the silent era there were eight Tarzan films, starting with 1918 film starring Elmo Lincoln. This was the first sound adaptation and it was started by Metro-Goldwyn-Meyer studio as something of an afterthought, motivated mostly with desire to use surplus footage of Trader Joe, 1931 adventure film shot on locations in Africa. Despite some notable actors, including Clark Gable, being considered for title role, it was eventually won by Johnny Weissmuller, swimmer and Olympic gold medallist on the account of his impressive physique. Despite relative lack of ambition, Tarzan the Ape Man turned into something of surprise hit at the box office and established Weissmuller as international star who would repeat his role in eleven more films, making Tarzan into one of the longer lasting and most successful film series in first half of 20th Century.
Tarzan the Ape Man is usually considered to be the best part of the series. This can be explained by technical skill which looks impressive even after nine decades. Of course, technological and budget limitations are quite visible, especially in some early scenes that feature rather crude rear projection. Some of the viewers, especially today, might have some issues with the implicitly racist content and the way the script deals with black characters, depicted as menacing savages or suffer the same fate in Redshirts in original Star Trek. The most problematic is pygmy tribesmen being played by white midgets in blackface. However, viewers who disregard those details would probably appreciate film which looks strangely modern. W. S. Van Dyke, known as one of the efficient directors of Classic Hollywood, makes this film rather atypical for early “talkie” era, because dialogues are relatively limited and there is hardly any music soundtrack. Instead he is focused solely on action and this action is quite impressive, even more for viewers who knew that Van Dyke didn’t have CGI and other special effects now taken for granted. The action is even more exciting for those knowing that many scenes had to feature flawless animal handling and rather risky stunt work, like in the scenes in which Tarzan wrestles and fights with lions.
Film benefited from scriptwriter Cyril Hume deciding to adapt Burrough’s novel in a way that simply discards Tarzan’s origin story. Instead Tarzan is introduced relatively late and the whole plot is seen from Jane Parker’s perspective. This also helps film because Tarzan as already established character is more suitable for those who, like Weissmuller, had rather limited acting ability or experience. Weissmuller’s role is not only more physical, but Weissmuller much easier can play character who is confused and surprised by sights he never experienced, like white woman or people belonging to civilisation. Irish actress Maureen O’Sullivan is more experienced and, among other things, handles posh English accent quite convincingly. Her talkative character, with semi-ironic comments on the situation, represents a huge contrast to mostly silent Tarzan. O’Sullivan easily established good chemistry with Weissmuller which would serve that duo in a couple more Tarzan films.
Tarzan the Ape Man also had good fortune of being made in a brief period between introduction of sound film and full enforcement of infamous MPAA Production Code that would castrate Hollywood for next few decades. Van Dyke with this film could enjoy more creative freedom than in those films made only few years later. One notable thing that sets this Tarzan film from other parts of the series is large amounts of violence, some of it rather graphic for 1930s standards. There is bloodshed, plenty of people get killed, some of them in unpleasant ways and Tarzan himself kills bunch of animals, thus making Tarzan the Ape Man rather family-unfriendly. The film, on the other hand, is somewhat less explicit when it comes to eroticism, but it uses a little bit of erotic potential, although not as much as 1934 sequel Tarzan and His Mate, known for its nude scene.
With its more than decent production values, old-fashioned but effective adventure yarn and easily identifiable pop culture references (like Weissmuller’s famous yodel-like yell), Tarzan the Ape Man is the film which any fan of Classic Hollywood would probably appreciate.
RATING: 8/10 (+++)
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