Johnny Weissmuller Movies

This final "Tarzan" entry from the MGM assembly line is arguably one the least effective of the series, though it certainly has its adherents. It all begins when Boy (Johnny Sheffield), adopted son of Tarzan (Johnny Weissmuller) and Jane (Maureen O'Sullivan), is kidnapped from the jungle by crooked circus promoters Rand (Charles Bickford) and Shields (Paul Kelly) and spirted off to America. This requires Tarzan and his mate to adopt "civilized" clothes and head to New York City, with the troublesome Cheeta the Chimpanzee along for the ride. There are some amusing moments as Tarzan tries to acclimate himself with the Big Apple, and some less amusing ones as Cheeta gets hold of a powder puff and lays waste to an expensive hotel room. The film's highlight, Tarzan's leap from the Brooklyn Bridge, comes at the film's halfway point, and accordingly things slow down considerably during the final reels. Tarzan's New Adventure works better as a stunt than as an official series entry, but it is still preferable to some of the so-so RKO Radio Tarzan films which were to follow. One racially questionable sequence involving black comedian Mantan Moreland has been understandably removed from some TV prints. ~ Hal Erickson, Rovi

Tarzan Finds a Son was to have been Maureen O'Sullivan's final Tarzan film, with Jane getting killed in the final reel. But Edgar Rice Burroughs refused to allow MGM to kill his character, so MGM had to increase her salary a substantial amount to do a few more Tarzan adventures. Tarzan Finds a Son was also the first MGM Tarzan film in three years and it introduced a new character --Boy (Johnny Sheffield). Tarzan (Johnny Weissmuller) finds Boy as an infant in a plane-wreck deep in the heart of the African jungle. He takes the baby to his jungle home where he and Jane (Maureen O'Sullivan) raise him as their own son for five years. When Boy's relatives find out that he is alive, they are less than happy, since he stands to receive a large inheritance. An evil African tribe then captures Tarzan and Jane and it is left to Boy to try to rescue them. ~ Paul Brenner, Rovi

Most Tarzan enthusiasts consider 1934's Tarzan and His Mate to be the best of the Johnny Weissmuller-Maureen O'Sullivan Tarzan efforts. Certainly it is the sexiest, with Weissmuller and especially O'Sullivan wearing next to nothing for most of the film's running time. Picking up where 1932's Tarzan the Ape Man left off, the film's plot is set in motion by avaricious ivory hunter Paul Cavanaugh, who arrives in the African jungle in search of the fabled Elephant's Graveyard. Accompanying Cavanaugh is Neil Hamilton the former fiance of Jane Porter (Maureen O'Sullivan), who for the past two years has been living with jungle lord Tarzan (Johnny Weissmuller) without benefit of clergy (this is strictly a pre-code effort, as evidenced by Jane's bikini-like attire and the now-famous skinny-dipping sequence). Jane briefly entertains notions of returning to civilization, but opts for her blissful outdoor existence with Tarzan. The plot rears its ugly head again when Cavanaugh shoots Tarzan and leaves him for dead, the better to seek out the precious ivory unimpeded. Rescued by his simian friends, Tarzan races towards the elephant's burial site, where Cavanaugh and Hamilton have been eaten by lions and Jane is next on the menu. A convenient elephant stampede--heralded by that classic Tarzan ahh-ee-yahhhh-ee-yahhhh--saves Jane from the lion's fangs in the nick of time. Tarzan and His Mate was the last of MGM's "Tarzan" series to be targeted for a strictly adult audience: the remaining MGM Tarzans, made under stricter censorship guidelines, were geared for the whole family. ~ Hal Erickson, Rovi

Broadway impresario Florenz Ziegfeld brought his legendary "Follies" to the silver screen in Glorifying the American Girl. The barely visible plotline concerns a virginal young miss (Mary Eaton) who aspires to greatness as a Follies girl. With stars in her eyes, she heads to New York, leaving her hometown boyfriend to fend for himself. Upon arriving in the Big Apple, our heroine links up with a two-bit dancer who offers to make her a star -- if only she'll let him make her, period. The greater part of the film is given over to a re-creation of a "typical" Follies production, replete with musical solos by Rudy Vallee and Helen Morgan and a sidesplitting comedy sketch with Eddie Cantor and Louis Sorin as a pair of kvetching Jewish tailors ("Vat's der idea uff calling me a damn fool in front uff der customers?" "So, it's a secret?"). From time to time, the camera cuts away to the many celebrities enjoying the show, including journalist Ring Lardner, nightclub doyenne Texas Guinan, New York mayor Jimmy Walker, Paramount Pictures head man Adolph Zukor, and Flo Ziegfeld himself, accompanied by his then-wife, Billie Burke. And yes, that's Johnny Weissmuller on-stage as a provocatively undraped "Nature Boy." As a bonus, the musical score was the handiwork of Irving Berlin. Originally filmed in Technicolor, Glorifying the American Girl is presently available only in black-and-white. ~ Hal Erickson, Rovi