Introduction

Last year the character of Tarzan celebrated his 100th year in print. A serialized version of the story first appeared in 1912. A hardcover collection of Tarzan of the Apes first appeared in 1914. Being in the middle of the Tarzan centennial period it’s an opportune time to (re)visit many of the screen renditions of the character. Previous posts in this and other series can be found here.

Tarzan and His Mate (1934)

Here is another case wherein I honestly am quite glad to be revisiting the series chronologically. In earlier viewings I not only skipped this film but saw later ones out of order. It’s hard for me to argue that this installment is better than its predecessor, but it is rather impressive.

It does take its time easing you in. Once again it makes its title character’s presence scarce in the first 20 minutes or so. Instead, what we are introduced to is an outside party’s trip into the jungle seeking a return to the elephant graveyard and a bounty of ivory. These two white men carry a torch for Jane and it’s her first contact with them in some time. This allows her to be rather conflicted between comforts of her old life and the happy simplicity she now enjoys.

It’s also great to find this film in this set, if not in its intended form, then closer to it than previously screened. The infamously altered skinny dip of O’Sullivan is in this cut, but overall there’s a very Pre-Code take to this tale that seems a step beyond “figuraitve literalness” to being very overt as both men make their plays for her affections quite openly.

So far as Tarzan’s character goes, while he is still written fairly monosyllabically there is an arcing toward a more vocal character and the words chosen for him are chosen well; “Always is gone” and the response at the end have a great significance and are wonderful touches.

There is the introduction of music to Tarzan’s character, but on the more visceral side the fights are better staged and the blend of actual trained animals, dummies and rear projection looks to be about as seamless as the era could produce.

The villainy sets itself up early and rears its head when it matters most and thankfully on the animal side of the equation, whereas later on Cheetah serves more as a prop, comic relief and/or distraction here his presence is vital, which is another nice touch. Most second installments to series are disappointments but the second MGM Tarzan is an exception.