Surprisingly incoherent and boring

Too much about the plot just didn't add up, the writing was bad, some of the scenes were cringey and awkward,

Tells a fascinating and unsettling true story, and does so well, without pretending to have all the answers.

Strong acting helps the film overcome an uncertain premise and create characters that hold our attention absolutely.

In a story with which most people are familiar, Jane goes to the Dark Continent, meets the legendary jungle swinger, faces numerous threats, is rescued multiple times, and falls in love with Man at his most primitive. The movie is not the first celluloid adaptation of E.R. Burroughs's famous story, but is likely the best known and, although conflicting with current sensibilities (e.g. shooting pesky animals, heroic ivory hunters, dwarfs in black-face playing villainous pygmies), remains a classic 'pre-code' adventure film and predecessor to multiple sequels, series, and TV shows. Considering the film is based on what was essentially a boy's adventure book, it is very sensual (almost soft-erotic) at times. Jane spends much of the middle part of story soaking wet in a clingy (but opaque), strategically disintegrating, outfit as she and the Lord of the Jungle engage in a long bout of 'getting to know you' flirting. Olympic swimmer Johnny Weissmuller, the titular Ape-man, is perfect as the very fit, very European looking, Lord of the African jungle, as is Maureen O'Sullivan as Jane Parker, the lovely British girl destined to be his mate. C. Aubrey Smith plays Jane's father, James, an old 'African hand' and Neil Hamilton (familiar to boomers as Commissioner Gordon in the '60s campy "Batman" series) is Harry Holt who, as a 'civilized' gentleman, is no match for Tarzan when it comes to attracting Jane's affections. The movie is an excellent blend of location footage and 'Hollywood Africa', and if some of the great apes look like costumed stuntmen and the elephants have prosthetic ears - that just adds to the charm. There are some incredible interactions between the actors and the animals (or seamless switches to wranglers, I couldn't tell) and chimp-star 'Cheeta' has some of the best scenes, both with the humans and when being chased by lions while carrying the news of Jane's current peril to Tarzan. Followed by sequel ("Tarzan and his Mate", 1934) in which Jane wears even less (and sometimes nothing at all) before the Hay's Code clamp down on cinematic naughtiness forced Maureen O'Sullivan to don a (relatively speaking) frumpy jungle skirt for the rest of the series. Great fun from another era.

Is this the first case of recycling? MGM spent a fortune making Trader Horn, and was able to reuse some footage for this film. Smart thinking. Of course the footage was not integrated well. It looks as if some of the characters are walking in front of a movie screen.Johnny Weismuller was an Olympic Gold Medalist with no acting experience, and MGM really didn't want him, but they used him for this and four sequels to great effect. Weismuller went on to make more Tarzan films for other producers.It is always a pleasure to watch old films like this and see how far we have come.

English explorer C. Aubrey Smith (as James Parker) leads an expedition into Africa's jungles, to find ivory in a legendary elephant graveyard. Spunky daughter Maureen O'Sullivan (as Jane) insists on going along, despite the danger; she is looking for a more savage lifestyle. Handsome Neil Hamilton (as Harry Holt), Mr. Smith's partner, falls in love with Ms. O'Sullivan, but finds unexpected competition from likewise handsome, but loin-clothed, Johnny Weissmuller (as Tarzan). Raised by monkeys, Mr. Weissmuller gets the urge to mate, when he sees O'Sullivan.This was the first "Tarzan" film starring Weissmuller, O'Sullivan, and "Cheetah" the chimpanzee; and, by the time the movie ends, they are obviously "going places" (in the Tarzan film series). A handsome and muscular swimming star, Weissmuller makes a perfect Tarzan. While showing less skin, O'Sullivan give the film its considerable sex appeal; especially when she tears her dress to mop Weissmuller's brow, goes swimming, and has Tarzan tickle her feet.Edgar Rice Burroughs' story of survival is downplayed in favor of the novel's sexual fantasy. And, it works like a charm. "Tarzan the Ape man" was not only a great Tarzan film, but also an excellent early "talkie". Of course, there is some silliness included (this was 1932). Director W.S. Van Dyke, film editors Ben Lewis and Tom Held, and photographers Harold Rosson and Clyde De Vinna excel. The film is briskly directed, tightly edited, and nicely photographed.******** Tarzan the Ape Man (3/25/32) W.S. Van Dyke ~ Johnny Weissmuller, Maureen O'Sullivan, Neil Hamilton, C. Aubrey Smith

In 1932, Olympic swimming champion Johnny Weissmuller donned loincloth (and precious little else) to swing into action for the very first time as Edgar Rice Burroughs' legendary jungle dweller, Tarzan, The Ape Man. Co-starring the gorgeous Maureen O'Sullivan as Jane Parker, the object of Tarzan's affection (or should that be 'lust'), this classic adventure might be lacking somewhat in the technical department, but is unbeatable in terms of sheer entertainment, offering plenty of delightfully un-PC action, a little risqué pre-Hays code sexuality, and a large dose of surprisingly nasty violence.In a bid to deliver as much gratuitous animal killing, native whipping, savage pygmy action and, of course, tantalising glimpses of a partially clothed O'Sullivan as he possibly can in 100 minutes, director W.S. Van Dyke avoids explaining the origins of his title character, opting instead to open the film as Jane arrives in Africa to join her father, who is leading an expedition in search of a legendary 'elephant graveyard'. This journey into the most treacherous, untamed parts of the dark continent inevitably leads to an encounter with the athletic ape man, who naturally takes a shine to the pretty Ms. Parker and whisks her off to his treetop hideout, where she is introduced to his extended family (a few genuine apes, and lots of blokes in bad chimp costumes).After some initial kicking and screaming, Jane calms down and realises that the wild man and his simian pals mean her no harm; unfortunately, big white hunter Harry Holt, hotheaded member of Parker's expedition and aspiring suitor to Jane, isn't so sure: when he tracks down and rescues the missing girl, he does so with guns a-blazing, killing one of Tarzan's hairy pals in the process.A now furious ape-man seeks revenge, killing a few dispensable luggage bearers before being wounded by the trigger-happy Holt (and then attacked by a few big jungle cats). Fortunately, brave Cheetah the chimp goes for help and Jane is soon at Tarzan's side, nursing him back to health by tearing strips from her dress and gently patting his head. Once her patient is fighting fit, Jane wishes to return to her father, and so our honourable vine swinging hero reluctantly returns her to the expedition, before loping back into the undergrowth.But when the expedition runs into trouble with a tribe of bloodthirsty munchkins, Tarzan is soon at Jane's side once again, kicking dwarf ass and leading a stampede of thundering pachyderms into the tiny terrors' village.Weissmuller, whose entire subsequent movie career would consist of similar adventure films, puts in a superb performance—strong, heroic and fearless, yet tender and compassionate when needed; likewise, O'Sullivan is impressive as the gutsy heroine who captures the heart of Tarzan (and the attention of most of her male viewers, I should think). These strong central performances, combined with Van Dyke's spirited direction, some impressive matte paintings, and lots of stock animal footage all add up to one hell of a fun time. At times, the action might get a little too scary for younger viewers—the sight of natives being thrown into a pit with a killer gorilla (another man in a suit—but a damn freaky suit!) is disturbing—but for older fans of jungle action, the fierce and frightening moments will only add to the excitement (I consider the Tarzan films to be precursors to the gory Italian cannibal films that were popular in the 70s).More fun can also be derived from Tarzan The Ape Man's less than perfect moments, which are full of unintentionally humorous elements that only add to the film's overall charm: the Indian elephants doctored with fake ears; Tarzan's trapeze swings thinly disguised as vines; the aforementioned shabby ape suits; and some terrible back projection that attempts to convince the audience that the studio-bound actors are actually in the wilds of Africa.Throw in more scary native dwarfs than you could chuck a spear at, an exciting hippopotamus attack (plus a few crocs for good measure), Tarzan wrestling a lion, and Weissmuller's trademark yodel, and you have one helluva rollicking flick.