Mercador das Selvas

I don't think any film that managed to finish its shooting schedule and be released ever had as much problems as Trader Horn. So much so that for 20 years no American film company ever went back to Africa for location shooting until The African Queen and King Solomon's Mines. But so much footage survived that MGM was able to stock a series of Tarzan films and not put its players at risk the way Harry Carey, Duncan Renaldo and Edwina Booth were.

The plot is a skimpy one. Carey is your basic white hunter who is taking along a young friend Renaldo into some unexplored country in search of missionary Olive Carey's daughter. When they find her she's now the princess of a savage tribe. But one look at these two, especially Renaldo, makes her realize there are others who look like her. After that it's the three of them plus Carey's gunbearer on the run from the tribe and without weapons in the jungle.

While American companies avoided Africa, colonial powers like Great Britain shot films in Africa and did it because they knew what the hazards were and took precautions. The goring of a young native by a rhinoceros is real and captured on film and frightening. Director Woody Van Dyke kept his cast and crew loaded with gin and quinine. It still did not save Edwina Booth from a rare tropical disease which many thought killed her. I've always believed that was a deliberate publicity stunt by MGM because Ms. Booth was through with show business after this shoot. Who could blame her?

The first half of the film is a travelogue on safari. At the time this was great stuff for the American movie-going public. Still no studio wanted to face the expenses MGM had during Trader Horn's shooting.

As sheer entertainment, the movie more than succeeds. Sure, the storyline seems familiar— intrepid white men leading safari to rescue white girl amid wilds of untamed Africa. But check out all the great vistas and teeming wildlife, even if the beasts-in-combat was filmed later in Mexico-- evidently the Africa end of the production was as much an ordeal as the storyline itself (IMDB).

Carey is convincing as the chief trader. He's got a way of tossing off dialog as though he's just thought of it, and his Trader Horn remains a commanding figure throughout. Booth is almost scary as the tribal white girl, twisting her angular features into grotesque shapes that few Hollywood glamour girls would dare risk. However, the make-up man feminizes Renaldo with enough eyeliner to embarrass Estee Lauder. I realize he needs to be attractive enough to turn the white goddess around, but in the process he's been made pretty rather than safari handsome.

One thing to note is the centrality of sound to the drama. The roar of that spectacular waterfall impresses, as do the native drums and tribal hubbub. Perhaps the sound track is heightened because of the newness of the technology (1927), but it does add a lot.

As a Third World document, however, the movie's very much a creature of its time—the casual slurs, the butt-kicking, the girl's sudden preference for the white world. Such racial assumptions shouldn't be surprising given the time period; at the same time, the rich spectacle remains, including that inspired final shot. All in all and despite the drawbacks, this influential antique remains worth catching up with.

TRADER HORN, the Great White Hunter, treks into Darkest Africa in search of the long-missing daughter of a lady Missionary.

MGM produced one of the seminal adventure classics with this film, a benchmark against which all others would be measured for years to come. Although beset with production difficulties & traumas, including the near death of the leading actress, the film was an eventual triumph. Rarely seen today, it still packs a punch, if for no other reason than its splendid performances and the undeniable impact of its on-location filming.

Harry Carey, giving one of the first great performances of the sound era, is perfect in the title role. So well does he inhabit the character like a second skin that it is nearly impossible to imagine anyone else playing the part. Having already starred in innumerable silent Westerns, he brings enormous physicality to a movie which made great demands on its actors. Carey looks & sounds like someone who's spent years in the veldt. The slouch of his hat, the grim set of his eyes, the rough growl of his voice are all just right.

Handsome Duncan Renaldo, as Horn's earnest young Spanish companion, and exquisite Edwina Booth, as a white tribal queen, are both admirably suited to their roles. The sparks of their budding, hesitant romance lightens the end of the film.

Olive Golden Carey, the star's wife, is radiant in her very small role as a tough, determined but saintly missionary; the image of her seated in a sedan chair, being carried through the jungle on her endless quest, remains in the mind. Special mention should also be made of Mutia Omoolu, as Horn's gun bearer & friend, adding dignity and strength to his role; he was rewarded with rare recognition alongside the other performers during the opening credits.

Movie mavens will recognize wonderful old Sir C. Aubrey Smith, appearing uncredited for a few moments at the end of the film, in the role of an Irish trader.

Director Woody Van Dyke liked working on location, if possible, and so MGM went to the greatly added expense of sending the entire company to Africa. (Filming would take place in the Territory of Tanganyika, the Protectorate of Uganda, the Colony of Kenya, the Anglo-Egyptian Sudan & the Belgian Congo.) This proved a great boon to the picture, giving it an authenticity not replicable in any studio back lot. The scenes of the actors beside a tremendous waterfall, floating down a swollen river infested with hippos, or interacting with native Africans are still sensational today.

However, the cast and crew were forced to live and work under appalling conditions for many weeks. Miss Booth, one of the most beautiful actresses of the day, caught a ‘jungle fever' which left her deathly ill for years and effectively ended her film career.

The attempts of the Studio to shut down the film after the company returned from Africa, and lawsuits & demands for more money on the part of ill-used performers, only added to the acrimony at the time. However, from a vantage point of more than seventy years distance, TRADER HORN has emerged as one of the great adventure movies and a prime example of the sort of film ‘they just don't make anymore.'

"Trader Horn" is a very good film, but it's also a monstrous film--a very strange combination. I noticed that I my wife and I watched it, she was terrified and even angered several times--mostly because the filmmakers were so darned irresponsible in the way they treated the animals (and even cast members!).

The film begins with Horn (Harry Carey) and Peru (Duncan Renaldo) trekking through Africa with their porters and Horn's assistant, Rencharo (Mutia Omoolu). They are looking to trade salt and trinkets to the locals for ivory and furs. But, instead of taking advantage of the naiveté of these tribesmen, the tables end up getting turned on them. Despite Horn's experience on the Continent, he's finally out of his league--among incredibly hostile natives who seem bent on killing them all. In an odd twist, they meet up with a savage white woman living among these locals and they take 'Nina' with them on a cross-country run from these hostile warriors. This portion of the film is highly reminiscent of the later film "The Naked Prey" (with Cornel Wilde).

While the film is exciting and has a lot of great action location sequences, the film also is very tough to watch. Because the film was made in the Pre-Code era (where rules about film content were rarely enforced), the film is amazingly violent. In fact, MGM didn't like the final product, so they took a bunch of animals (probably from circuses or zoos) to Mexico and had them kill each other or killed them outright and stuck this into the movie!! There was no PETA or American Humane Association to oversee the project and it is tough watching animals actually die. In particular, there is a scene where a lion is impaled on a spear and it appears that they really did this for the entertainment of the audiences! Uggh. Additionally, being a Pre-Code piece, Nina spends much of the movie wearing very little--and all the native women are topless--which was not a problem in 1931. However, with the toughened Production Code of 1934, this film would have been heavily edited to be shown in the States or not at all. Because of all this, it's a film you definitely cannot ignore!! Exciting location shots, lots of action and a bit of trash--all make for a very exciting but unsavory film.

This early 1930s talkie is a fine jungle adventure in spite of its dated, pedestrian look. A great white hunter takes his protégé in tow and leads a safari through the African wilds, braving wild animals and savage tribesmen in search of ivory. A major angle is a missionary's search for her long-lost daughter who is now a white goddess living among a savage native tribe. Conflicts arise between Horn and his protégé over the girl who has a wild, feral animal attraction. The film has a great deal of exciting, realistic footage of wild animals in search of prey and the attacks are recorded in detail. The hippos and crocodiles in the rivers make for some tense moments during the safari's canoe crossings as the party races for safety from pursuing natives. Harry Carey Sr., Duncan Renaldo and Edwina Booth star in this fine but unpolished feature which is introduced by a music score that is not heard again for the entire movie. The only other instruments of note being the foreboding, percussive native drums during a "ju-ju" when the tribes work themselves into a wild, killing frenzy.