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.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.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.
- Awards
- 1 win & 1 nomination total
- Evil Dwarf
- (uncredited)
- Evil Dwarf
- (uncredited)
- Evil Dwarf
- (uncredited)
- Evil Dwarf
- (uncredited)
- Ape
- (uncredited)
- Evil Dwarf
- (uncredited)
- Bird Creature
- (uncredited)
- Evil Dwarf
- (uncredited)
- Evil Dwarf
- (uncredited)
- Ape
- (uncredited)
- Director
- Writers
- All cast & crew
- Production, box office & more at IMDbPro
Storyline
Did you know
- TriviaThe elephants used in the early Weissmuller films were not African but Asian elephants with African sized ears strapped on. This practice is still common because the Asian species is much more docile than the African. In later films the fake ears were abandoned altogether figuring no one would know the difference.
- GoofsWhile swimming across a river, Tarzan gives off his full Tarzan yell while his head is completely submerged under water.
- Quotes
Jane Parker: Thank you for protecting me.
Tarzan: Me?
Jane Parker: I said, thank you for protecting me.
Tarzan: [points at Jane] Me?
Jane Parker: No. I'm only "Me" for me.
Tarzan: [points at Jane] Me.
Jane Parker: No. To you, I'm "You."
Tarzan: [points at himself] You.
Jane Parker: No...
[Thinks for a second]
Jane Parker: I'm Jane Parker. Understand? Jane, Jane.
Tarzan: [points at Jane] Jane, Jane.
Jane Parker: Yes, Jane. And you?
[Tarzan stares]
Jane Parker: [points at herself] Jane.
Tarzan: Jane.
Jane Parker: [points at Tarzan] And you?
Tarzan: Tarzan. Tarzan.
Jane Parker: Tarzan...
- Alternate versionsColorized version was available... and shown on TNT
- ConnectionsEdited into Tarzan Escapes (1936)
- SoundtracksVoo-Doo Dance
(uncredited)
Music by George Richelavie
Arranged by Paul Marquardt & Fritz Stahlberg
Played during main title
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).
- Bunuel1976
- Oct 9, 2004
- Permalink
Details
Box office
- Budget
- $652,675 (estimated)
- Gross worldwide
- $72
- Runtime1 hour 40 minutes
- Aspect ratio
- 1.37 : 1