Hubbry Logo
Tarzan EscapesTarzan EscapesMain
Open search
Tarzan Escapes
Community hub
Tarzan Escapes
logo
7 pages, 0 posts
0 subscribers
Be the first to start a discussion here.
Be the first to start a discussion here.
Tarzan Escapes
Tarzan Escapes
Tarzan Escapes
View on Wikipedia
from Wikipedia

Tarzan Escapes
Theatrical release poster
Directed byRichard Thorpe
John Farrow (uncredited)
James C. McKay (uncredited)
George B. Seitz
William A. Wellman
Screenplay byCyril Hume
Based onCharacters created
by Edgar Rice Burroughs
Produced byBernard H. Hyman
Philip Goldstone
Jack Cummings
StarringJohnny Weissmuller
Maureen O'Sullivan
CinematographyLeonard Smith
Edited byW. Donn Hayes
Music byWilliam Axt
Production
company
Distributed byLoew's, Inc.
Release date
  • November 6, 1936 (1936-11-06)
Running time
89 minutes
CountryUnited States
LanguageEnglish
Budget$1,000,000[1]

Tarzan Escapes is a 1936 Tarzan film based on the character created by Edgar Rice Burroughs. It was the third in the Metro-Goldwyn-Mayer Tarzan series to feature Johnny Weissmuller as the "King of the Apes". Previous films were Tarzan the Ape Man (1932) and Tarzan and His Mate (1934), with Jane's bikini-like attire and the famous skinny-dipping sequence.[2] Weissmuller and O'Sullivan starred together in three more Tarzan films, Tarzan Finds a Son! (1939), Tarzan's Secret Treasure (1941) and Tarzan's New York Adventure (1942).[3]

Plot

[edit]
Lobby card

Jane's (Maureen O'Sullivan) two cousins, Eric and Rita, arrive in Africa to tell Jane about a fortune left to her back in their world and to try to convince her to return with them. They are led to Tarzan's escarpment home by Captain Fry (John Buckler), a hunter with an agenda of his own. Jane convinces Tarzan to let her go back with Eric (William Henry) and Rita (Benita Hume), promising that their separation will only be temporary. But Captain Fry (unknown to the others) attempts to capture Tarzan to take him back to civilization so he can be put on public display, and actually succeeds in caging Tarzan. Fry's treachery includes making a deal with an unfriendly native tribe to give him food, canoes and protection for the journey back in exchange for his handing over Jane, Eric and Rita for "ju-ju" and taking away the greatest "ju-ju" – Tarzan.

Fry's plan goes wrong when the natives capture Tarzan in his cage and all four white people are taken prisoner. Tarzan manages to escape with the help of elephants and Cheeta, and guides what's left of Fry's party through a cave passage filled with treacherous quicksands. Just before they exit the caves to safety, Tarzan forces Fry to go back the way they came as punishment for his betrayal. Fry starts to go back, then seizes a heavy branch to attack Tarzan, but before he can exit the cave he falls into a quicksand bog (filled with "poisonous" iguanas) and is swallowed up. Rita and Eric tell Jane that it is not necessary for her to return with them and that she belongs with Tarzan. The film ends with Tarzan and Jane reunited at their tree house.

Cast

[edit]

Production

[edit]

The previous Tarzan film Tarzan and His Mate had a number of directors. Maureen O’Sullivan has said that James C. McKay actually directed the film. His official credit on that picture was Animal Director. McKay (1894–1971) had a resume full of various credits, and he jumped back and forth between the jobs of director and editor. McKay had received a Production Assistant credit on Trader Horn (1931), directed by W. S. Van Dyke. McKay was initially given the director's chair for the sequel, Tarzan Escapes (1936), indicating that MGM must have been happy with the work he did on Tarzan & His Mate; however, there would be many changes to cast and crew on that film too (including Elmer Sheeley replacing Cedric Gibbons as art director). John Farrow was handed the director's chair; reportedly he then practically re-shot the whole film. Regardless, Richard Thorpe ended up being given director's credit. Farrow (who had a fling with Dolores del Río) married Maureen O'Sullivan before the year was through.[4]

Deleted scene

[edit]

A scene, which took a week to shoot, featuring Tarzan fighting vampire bats, was cut from the final edit after test audiences found the scenes too intense. The film's first director James C. McKay shot many of the "gruesome" scenes, but he was replaced by John Farrow in 1936 who re-shot much of the film. Richard Thorpe would finally get credit for directing the film.[5]

Critical reception

[edit]

Describing Tarzan as a "pithecanthrope" and Cheetah as "the Martha Raye of chimpanzees," a review of the film in The New York Times reported that its "wealth of animal sequences [...] slyly propitiated the sentimentalists and zoolaters," that "the film is almost pure circus," and that "the action [is] effectively slow-paced."[6] A review of the film in Variety noted that "Johnny Weissmuller once again looks good as the jungle boy. And O’Sullivan is also okay once more as the loving wife, but considerably more covered up in clothing [compared to her earlier Tarzan films]," but that "Cheetah [...] provides the picture with its most legitimately comical and best moments."[7]

Film review aggregator Rotten Tomatoes reported an approval rating of 71%, based on 7 reviews, with a rating average of 6.1/10.[8]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Tarzan Escapes

View on Grokipedia
from Grokipedia
Tarzan Escapes is a American adventure film, the third entry in Metro-Goldwyn-Mayer's series based on the character created by . Directed primarily by with uncredited contributions from , James C. McKay, George B. Seitz, and , it stars as and as Jane Parker. The film follows Jane's cousins, who arrive in to persuade her to return to for an , leading to Tarzan's capture by a treacherous hunter and his daring escape amid jungle perils including a native tribe and natural hazards. Released on November 6, 1936, with a runtime of 89 minutes and a budget of approximately $1 million, it emphasizes themes of civilization versus wilderness while showcasing Weissmuller's athletic prowess in action sequences. The plot centers on Eric and Rita Parker, Jane's relatives, who mount an expedition to the Mutia Escarpment with the help of Captain Fry, ostensibly to reunite Jane with her inheritance but secretly plotting to capture for exhibition in civilization. Fry's betrayal strands the group with hostile natives, forcing —after breaking free with aid from his animal allies like and elephants—to rescue them from dangers such as and ambushes. The narrative culminates in Jane reaffirming her commitment to and the jungle life, rejecting the allure of her former world. Produced by as a to (1934), the film faced production challenges, including initial direction by McKay that preview audiences deemed too violent, prompting extensive reshoots, primarily under , with final direction credited to , to align with the Motion Picture Production Code (). These changes notably toned down graphic elements, such as a planned sequence involving giant vampire bats, which was replaced with a giant lizard attack. The supporting cast includes William Henry as Eric Parker, as Rita Parker, John Buckler as the villainous Captain Fry, and as the comic-relief guide Rawlins, adding layers of intrigue and humor to the adventure. Shot on location in and at studios, Tarzan Escapes continued the series' formula of blending romance, action, and exotic escapism, and was profitable at the despite the revisions.

Story and Characters

Plot

Tarzan Escapes follows Jane Parker, who lives contentedly with in their jungle home on the Mutia Escarpment. Jane's cousins, and Rita Parker, arrive from to inform her of a substantial she stands to claim, provided she returns to ; otherwise, it will fund entomological research. Accompanied by the duplicitous big-game hunter Captain Fry as their guide, and Rita persuade a reluctant Jane to join them temporarily, while Fry secretly plots to capture and exhibit him in as a circus attraction to profit from his fame. Fry manipulates by implying Jane has abandoned him for city life, tricking the ape-man into a cage. The group's expedition turns perilous when they are attacked and captured by a tribe of natives who practice . breaks free from captivity with assistance from his loyal and a helpful , then orchestrates a daring of Jane, her cousins, and the others. As the fugitives flee through the treacherous cave system, they navigate deadly hazards including pools of and aggressive . During the escape, Fry betrays the group by attacking , but forces him back into the cave, where he falls into a swamp and is dragged under by a giant lizard, perishing in the process. In the resolution, Eric and Rita disclose that Jane can secure the inheritance by simply signing documents without a permanent return to England, alleviating her dilemma. Jane ultimately chooses to stay with Tarzan, affirming her commitment to their jungle life over civilized society. The film's 89-minute runtime structures its narrative around high-tension adventure sequences, driving the inheritance subplot and native tribe conflicts as key motivators for the central action.

Cast

The principal cast of Tarzan Escapes features returning stars from the Tarzan series, maintaining the established formula of a rugged , his devoted partner, and a mix of civilized interlopers and animal companions to highlight themes of wilderness versus society. reprises his role as , the iconic ape-man lord of the who serves as protector of the wild, bringing his Olympic swimmer physique and signature yell to embody the character's primal strength and nobility. returns as Jane Parker, portraying the refined yet adaptable woman navigating her dual life between civilization and the untamed , a role that solidified her as the quintessential screen Jane across multiple entries in the series. Supporting the leads is an ensemble of British and American actors who introduce familial and adversarial elements central to the film's interpersonal dynamics. John Buckler plays Captain Fry, the cunning big-game hunter whose ruthless ambition drives conflict in the narrative. portrays Rita, Jane's scheming cousin whose polished demeanor masks self-serving motives, adding layers of familial intrigue. William Henry appears as Eric, Rita's younger brother and opportunistic sidekick, contributing to the group's internal tensions with his youthful impulsiveness. provides comic relief as Rawlins, the bumbling servant whose hapless antics offer levity amid the adventure. rounds out the key human roles as Major Rivers, the staid family solicitor representing institutional authority from the civilized world. Cheeta, the mischievous , returns as Tarzan's loyal animal companion, enhancing the film's blend of action and humor through expressive antics that underscore the jungle's lively ecosystem. This continuity in casting, particularly Weissmuller and O'Sullivan's third collaboration, reinforces the series' core appeal of escapist thrills rooted in Burroughs' lore while evolving the supporting ensemble to explore new relational facets. Notable minor roles include as the Gooney Bird, a figure in the native tribe sequences that adds exotic visual flair to the jungle's diverse inhabitants. Darby Jones appears as Bomba, a tribal character contributing to the film's depiction of indigenous life. These performances, alongside the principals, create a balanced ensemble that upholds the formula's emphasis on adventure, romance, and cultural contrasts.
ActorRoleCharacter Description
TarzanJungle lord and protector
Maureen O'SullivanJane ParkerCivilized woman torn between worlds
John BucklerCaptain FryAntagonistic hunter
RitaJane's manipulative cousin
William HenryEricRita's opportunistic brother
RawlinsComic relief servant
Major RiversFamily solicitor
CheetaCheetaChimpanzee companion
Gooney BirdLittle person in native tribe scene
Darby JonesBombaSupporting native

Production

Development and Pre-production

The screenplay for Tarzan Escapes originated from an initial version titled Capture of Tarzan, loosely adapting ' Tarzan characters, with the first draft written by Karl Brown, Louis Mosher, Wyndham Gittens, and Otis Garrett. Following negative feedback, a second version was penned by Cyril Hume and Edwin Knopf, which shaped the final narrative around Tarzan's capture and escape. Directorial responsibilities underwent significant changes during pre-production. James C. McKay began directing in July 1935 but was replaced by John Farrow due to creative differences and production issues. Farrow oversaw much of the initial filming, but after his departure, Richard Thorpe took over as the final credited director in July 1936, with uncredited assistance from George B. Seitz and William A. Wellman on certain sequences. Pre-production faced substantial hurdles, including a disastrous 1935 preview screening of the original cut, which audiences, particularly mothers and children, found excessively violent and frightening, prompting to discard most of the footage and undertake a near-complete and reshoot. This led to recasting, such as replacing Granville Bates with as Rawlins and with Darby Jones as Bomba, to introduce more comedic and less intimidating elements. The budget escalated accordingly, starting at $600,000–$700,000 for the first version before an additional $200,000 was allocated for revisions, totaling $1,058,430. Art direction also shifted, with overseeing the initial sets but Elmer Sheeley taking over for the reshot material to align with the revised tone. The film's development unfolded under the strict enforcement of the Motion Picture Production Code (), implemented in 1934, which necessitated toning down sensual depictions—such as Jane's attire and underwater scenes—compared to the more provocative elements in prior entries like . This compliance helped mitigate censorship risks while addressing preview concerns over violence.

Filming

Principal photography for Tarzan Escapes primarily occurred at the studios in , where backlot jungles and soundstages were used to construct the film's African settings, including a replica of the tree bungalow on a sound stage. Limited exterior footage was shot in the , now part of , to capture authentic outdoor jungle environments for key sequences like the tree-top hideaway. The production spanned 1935 to 1936, beginning with initial filming from July 8 to late October 1935 under directors James McKay and , followed by extensive reshoots from July 13 to September 4, 1936, directed by to address directorial changes and preview concerns over excessive violence in the original dailies. Oversight was provided by producers Bernard H. Hyman, who handled the reshoots, and Jack Cummings, listed as an uncredited producer. Technical elements relied heavily on stock animal footage from prior Tarzan entries, including Tarzan the Ape Man (1932) and (1934), supplemented by location shots of in for wildlife authenticity. River and underwater sequences highlighted Johnny Weissmuller's Olympic swimming expertise, with the actor performing his own aquatic stunts using a specialized diving camera to simulate perilous jungle waters. The film advanced the series' stunt work with more intricate animal interactions, such as Tarzan's command of elephants to bend cage bars during his escape, demanding precise coordination between performers and trained animals. On-set highlights included a cameo by sideshow performer , who appeared as a tribal "Gooney Bird" member, contributing a bizarre, hand-walking amid the jungle tribesmen. These reshoots under Thorpe specifically toned down violent elements from Farrow's initial footage, such as graphic animal attacks, to align with MGM's standards for family audiences.

Post-Production and Release

Editing and Deleted Scenes

The post-production editing of Tarzan Escapes was overseen by editor W. Donn Hayes, who assembled the final cut from extensive footage captured under multiple directors amid reshoots, trimming the runtime to 89 minutes from longer rough assemblies to streamline the narrative and mitigate excessive violence. This process occurred under the constraints of the Motion Picture Production Code, fully enforced since July 1934, which emphasized moral standards suitable for general audiences, prompting refinements to tone down graphic elements while preserving the adventure core. A primary focus of the editing was the excision of a prolonged vampire bat attack sequence, originally shot by initial director James C. McKay and partially reshot by , depicting Tarzan combating hordes of oversized bats in a swamp amid attacks on Jane and natives. Screened in a 1935 preview, this week-long sequence elicited strong negative reactions, including fainting and walkouts from audiences distressed by its horror and gore, leading MGM to remove it entirely to avoid alienating family viewers. Additional trims targeted brutal native confrontations, such as scenes of tormented animals and heightened tribal violence, further reducing the film's intensity to align with Production Code guidelines and enhance pacing. These cuts shifted emphasis toward lighter, comedic interactions with the chimpanzee, contributing to a more balanced adventure tone that prioritized whimsy over unrelenting peril. Remnants of the sequence's tension appear subtly in the final film's escape, but the excised material transformed the overall edit into a safer, more accessible release.

Theatrical Release and Box Office

Tarzan Escapes premiered in the United States on November 6, 1936, distributed by Loew's Inc., the exhibition arm of (MGM). The black-and-white film ran for 89 minutes and marked the third entry in MGM's Tarzan series featuring and . Following its domestic debut, it expanded internationally, opening in on December 9, 1936, and in the on December 18, 1936, in . Marketing efforts positioned the film as a continuation of the successful Weissmuller-O'Sullivan duo, capitalizing on the series' reputation for exhilarating jungle action and broad family appeal. Promotional campaigns included vibrant posters showcasing Tarzan's acrobatic escapes and encounters with wildlife perils, alongside a dedicated pressbook distributed to theaters for local advertising tie-ins. Produced at a cost exceeding $1 million—owing to extensive reshoots on two versions of the film—Tarzan Escapes delivered solid commercial returns, recouping its budget and generating significant profits for through strong worldwide earnings. It ranked among 1936's leading adventure pictures, benefiting from the franchise's established popularity despite not dominating the year's overall charts. The picture experienced minor theatrical revivals in the , leveraging sustained interest in the series, with a more prominent re-release in 1954 that included updated lobby cards and paired screenings.

Reception and Legacy

Critical Reception

Upon its release, Tarzan Escapes received mixed contemporary reviews, with critics appreciating the performances and animal antics while noting inconsistencies in pacing and tone. In Variety, the film was praised for Johnny Weissmuller's strong portrayal of Tarzan and Maureen O'Sullivan's effective depiction of Jane, highlighting their idyllic romance and the comedic contributions of Cheeta, described as providing the picture's most legitimately comical moments through expert handling. The review emphasized the engaging animal sequences and overall adventure, though it observed O'Sullivan's character as more conservatively attired compared to prior entries. Modern assessments have similarly viewed the film as a solid but formulaic installment in the series, tempered by the influence of the , which diluted the sensuality present in earlier films like (1934). Review aggregator reports a 71% approval rating based on 7 critic reviews; critics such as Dennis Schwartz called it "an above average film" for its escapist thrills, while Bob Bloom noted it as marking the "downward, juvenile trend" of the series. On IMDb, the film holds a user rating of 6.5/10 from over 3,700 votes, reflecting appreciation for the jungle action and Weissmuller-O'Sullivan chemistry despite criticisms of repetitive plotting. Common themes in reception include a mixed balance between high-energy action sequences and slower dialogue-driven segments, with reviewers often lauding the escapist jungle thrills and animal interactions as highlights amid production challenges like reshoots. For instance, the film's animal friends aiding Tarzan's escape were frequently cited as providing genuine excitement, offsetting what some saw as circus-like excess in human elements.

Cultural Impact and Home Media

Tarzan Escapes marked a notable shift in the due to the of the Motion Picture Production Code (), which toned down the sensual elements present in earlier entries. Jane's costume, previously a revealing in (1934), was altered to a more modest , reflecting the Code's restrictions on and sexuality. This change exemplified the film's role as the first major Hollywood production to face significant under the newly enforced Code, transitioning the series toward family-friendly content. The movie reinforced colonial tropes prevalent in 1930s cinema, portraying as an exotic and wild backdrop filled with primitive natives and untamed wildlife, often serving as a hunter's paradise for white protagonists. Such representations contributed to broader imperial narratives that justified European dominance by depicting as threats or inferiors, lower even than animals in hierarchy. Modern critiques these elements for perpetuating racial and exoticizing the continent, highlighting how the film's jungle setting underscored white savior motifs amid global colonial contexts. As the third Johnny Weissmuller Tarzan film, Tarzan Escapes solidified the core formula of the series, establishing the enduring trio of , and while bridging pre- and post-Code eras by reducing violence—such as toning down intense scenes like the original sequence—to suit broader audiences. It influenced adventure genres by popularizing the domesticated , appealing to through escapist tales of strength and companionship that shaped perceptions of masculinity and wilderness exploration. The cameo by sideshow performer as a bird-like creature further integrated elements into jungle narratives, subtly nodding to the era's fascination with the "other" in popular entertainment. Home media releases of Tarzan Escapes began with its inclusion in ' 2004 DVD set The Tarzan Collection Starring , which compiled six films from the series for restored viewing. In 2010, it appeared in the (TCM) Greatest Classic Films Collection: as , Volume One, available as a manufactured-on-demand (MOD) DVD. As of 2025, the film streams on platforms like and is available for rent or purchase digitally via Apple TV and at Home, often bundled in Warner Archive digital collections; no standalone Blu-ray edition exists, though it features in multi-film Blu-ray sets. Its age has prompted fan-led restorations shared online, aided by the status of ' early novels in the United States, which inspire archival efforts despite the film's ongoing protection.

References

  1. https://www.edgarriceburroughs.com/tarzan-escapes/
  2. https://www.imdb.com/title/tt0028345/
  3. https://www.imdb.com/title/tt0028345/releaseinfo/
  4. https://www.moriareviews.com/fantasy/tarzan-escapes-1936.htm
  5. https://www.allmovie.com/movie/tarzan-escapes-am44677/cast-crew
  6. https://www.rottentomatoes.com/m/tarzan_escapes
  7. http://terrororstralis.com/films/b&w/36.htm
  8. https://www.allmovie.com/movie/tarzan-escapes-am44677
  9. https://catalog.afi.com/Catalog/moviedetails/5890
  10. https://www.imdb.com/title/tt0028345/fullcredits/
  11. https://www.themoviedb.org/movie/38661-tarzan-escapes/cast?language=en-US
  12. https://www.rottentomatoes.com/m/tarzan_escapes/cast-and-crew
  13. https://www.dvdtalk.com/dvdsavant/s1267tarz.html
  14. https://www.erbzine.com/mag6/0618.html
  15. https://www.imdb.com/title/tt0028345/fullcredits
  16. https://www.tcm.com/tcmdb/person/203814%257C88372/Johnny-Weissmuller
  17. https://variety.com/1935/film/reviews/tarzan-escapes-1200411165/
  18. https://www.erbzine.com/mag21/2141.html
  19. http://matineeatthebijou.blogspot.com/2008/03/i-saw-giant-vampire-bats.html
  20. https://www.imdb.com/title/tt0028345/alternateversions/
  21. https://www.erbzine.com/mag28/2877.html
  22. https://newyorkerstateofmind.com/tag/hays-code/
  23. https://yourhomeworksolutions.com/wp-content/uploads/edd/2020/07/Images-of-Africa-and-Africans-in-Western-Popular-Films-of-the-1930s.pdf
  24. https://www.researchgate.net/publication/350347706_Hollywood_imagines_urban_Africa_and_it%27s_as_bad_as_you_think
  25. https://www.ebsco.com/research-starters/history/tarzan-films-1930s
  26. https://www.transatlantic-cultures.org/fr/pdf/record/johnny-weissmuller.pdf
  27. https://filmfreakcentral.net/2004/07/the-tarzan-collection/
  28. https://www.thedigitalbits.com/item/91-classic-reviews-round-up-
  29. https://www.justwatch.com/us/movie/tarzan-escapes
  30. https://www.hollywoodreporter.com/movies/movie-news/tarzan-movie-rights-go-to-sony-1235231018/
Add your contribution
Related Hubs
User Avatar
No comments yet.