TREASURE OF THE GOLDEN CONDOR

Cornel Wilde and Anne Bancroft

TREASURE OF THE GOLDEN CONDOR (1953). Director: Delmer Daves. 

In 18th century France Jean Paul (Cornel Wilde) becomes the bonded servant of his hateful uncle the Marquis de St. Malo (George Macready). Jean also falls in love -- and vice versa -- with his cousin Marie (Anne Bancroft). Jean is the rightful heir to the estate and money but there is no proof that his parents, who died at sea, were ever married. Jean figures only money can get him out of his predicament, especially after he is arrested for assaulting his uncle and trying to flee, so he takes off on a treasure hunt in Guatemala with a man named MacDougal (Finlay Currie). 

Wilde with Finlay Currie

In Guatemala the two men set off with MacDougal's daughter Clara (Constance Smith) and look for a stone serpent to guide them to the treasure. Despite the fact that the movie made much of the fact that some of it was filmed in Guatemala, it doesn't especially add to the film's veracity, especially when the treasure seems to be found in a matter of minutes. There's a snake, a cave-in, and minimal excitement in the treasure scene. Then Jean returns to France, is put on trial, and has a rousing and satisfying final battle with his awful uncle, the best and most memorable sequence in the movie. Wilde gives a charismatic lead performance, with good support from a slimy Macready and a passionate if duplicitous Bancroft in one of her earliest roles. (When she eyes Wilde with his shirt off you can imagine she'd rather cozy up to him than Dustin Hoffman!) Irish actress Smith had about thirty credits but never hit the heights. Fay Wray has a supporting part as Macready's wife, and Leo G. Carroll is also in the cast, but I didn't recognize Robert Blake as a nasty stable boy.  The rich score by Sol Kaplan is beautifully orchestrated by Edward Powell. The main problem with this movie is that the viewer will expect it to be about a treasure hunt but that only takes up a small portion of the picture.

Verdict: Good cast can only do so much with comparatively weak and derivative material. **1/2.

MAN BEAST

Lloyd Nelson, Asa Maynor, Tom Maruzzi

MAN BEAST (1956). Director: Jerry Warren. 

Connie (Asa Maynor), has come to the Himalayas with her friend Hudson (Lloyd Nelson) in search of her brother, who is on an expedition with Dr. Erickson (George Wells Lewis). They hope to find a Yeti, or abominable snowman, in the higher altitudes. Connie and Hud, with the aid of Steve Cameron (Tom Maruzzi), manage to catch up with the expedition, but instead of her brother they find a man named Varga (George Skaff), who they deem suspicious. They are right to feel this way, as Varga turns out to be have a special relationship with the Yeti who turn up and threaten the others. And Varga has special -- and rather horrifying -- plans for Connie. 

One of the Yeti

Man Beast can't compare to the British Abominable Snowman that came out the following year, but while it's not a particularly good movie it does have its points of interest. The acting can best be described as adequate but George Skaff actually turns in a more than decent performance. Out of all of the performers he unsurprisingly racked up the most credits, although Maynor and Nelson also had more work after appearing in this picture. This was the sole film appearance for both Maruzzi and Lewis, and "Rock Madison" was just a made-up marquee name with producer/director Jerry Warren hoping audiences would think they were getting Rock Hudson or Guy Madison for their money -- there is no such actor. The picture's main strength, aside from its short length, is the atmospheric filming (with the slopes of California filling in for the Himalayas) of snowy vistas, deadly crevasses, avalanches, and the like, although undoubtedly stock footage was also employed. A scene when the Yeti come after the group inside a cave (there is no set, just surrounding blackness) is amateurishly staged and awkwardly shot, although I must say the first appearance of the Yeti is a mite startling. The soundtrack consists of very well-chosen stock musical cues. Jerry Warren also directed The Incredible Petrified World, which was similarly low-budget but a much better picture. 

Verdict: Not nearly as awful as its reputation, but not worth missing an episode of your favorite TV series. **. 

AROUND THE WORLD UNDER THE SEA

Wynn, Eaton, Kelly, McCallum, Bridges and Thompson

AROUND THE WORLD UNDER THE SEA (1966). Produced and directed by Andrew Marton.  Produced by Ivan Tors. 

An increasing danger of undersea quakes that could endanger millions on land causes scientists to decide to implant special sensors in various places on the sea bottom, providing a sort of early warning system. To achieve this Doug Standish (Lloyd Bridges) and Craig Mosby (Brian Kelly) gather a team to occupy their sub, the Hydronaut, and voyage around the world. The team members consist of Hank Stahl (Keenan Wynn), Dr. Orin Hillyard (Marshall Thompson), Dr. Maggie Hanford (Shirley Eaton), and Philip Volker (David McCallum), who agrees to help only if they go on a salvage operation that could net millions once all the sensors are planted. But this operation is interrupted by an eruption, and the crew of the Hydronaut may find themselves in really hot water ... 

Shirley Eaton and Brian Kelly

Around the World Under the Sea may have been intended as producer Ivan Tors' answer to Irwin Allen's Voyage to the Bottom of the Sea, but it certainly falls short of providing the same entertainment value. Although there is much talk of the ever-present danger of quakes and the necessity of planting the sensors, there is no sense of urgency and no real suspense until, perhaps, the final sequence. The actors are competent enough for the most part, but not quite up to the challenge in their most intense scenes. 

Lloyd Bridges and Brian Kelly

Tors filled the movie with such TV stars as Bridges from Sea Hunt, Kelly from Flipper, Thompson from Daktari, McCallum from The Man from U.N.C.L.E., who affects the same accent he used as Ilya in that series, and then throws in the irascible Keenan Wynn and the sexy Shirley Eaton to cause some minor tension among the boys. Eaton and Thompson seem to be romantically involved at the beginning of the movie, but halfway through she shifts her attention to Kelly, but there's no major reaction from Thompson. Although one could argue that this avoids a cliche -- although there are plenty in this movie -- it also strips the movie of any melodrama, which it could have used. We do get a gigantic eel that shows up and sniffs around the sub, but the problem with this is that it doesn't really seem to be endangering it or the people aboard. (I thought I spotted a few moments of 3D animation during this sequence and stop-motion expert Jim Danson is listed in the credits.)

David McCallum appeals to Shirley Eaton

The science of the film is suspect as well. At the climax, the water around the sub should have been boiling from the heat, and other things don't make much sense. However, some viewers might enjoy that Shirley Eaton loses the top of her bathing suit at one point where it floats outside of a porthole (or whatever they call it on a sub), and Harry Sukman's score has its effective moments. The screenplay is not well-constructed and hardly takes advantage of a very workable premise. There is no real characterization to speak of. 

Verdict: By no means dreadful, but too blah to be memorable. **1/4. 

CAPTAIN KIDD

Charles Laughton as Captain Kidd

CAPTAIN KIDD (1945). Director: Rowland V. Lee.

Captain William Kidd (Charles Laughton) presents himself to King William III (Henry Daniell) and is assigned to keep pirates from attacking a British ship filled with booty. Kidd, of course, has other ideas about what to do with that ship. Kidd gathers a crew of cutthroats under sentence and offers them a pardon if they serve on board his ship. One of these men, Adam Mercy (Randolph Scott), hides a secret: that Kidd murdered his father. When the British ship is destroyed and stripped of her bounty, the beautiful Lady Anne (Barbara Britton) is taken aboard -- she and Adam will form a romantic alliance, but getting away from Captain Kidd may not be so easy. 

Laughton with John Carradine

Captain Kidd is a good movie with a great lead performance. The movie has humor, and Laughton makes the most of it without ever descending into parody. Although he appears briefly, Daniell is wonderful as the king, and John Carradine is also notable as a not-so-friendly associate of Kidd's. Reginald Owen also has a nice turn as Shadwell, a gentleman's gentleman who has been hired to remove all the considerable rough edges from Kidd -- who desires a peerage -- and who winds up allying himself with Adam and Lady Anne. Although they have a lot to do, Scott and Britton are outclassed in this company. Barbara Britton became better-known for her television work on Mr. and Mrs. North with Richard Denning. Gilbert Roland is one of Kidd's crew, as is Sheldon Leonard, whom I didn't even recognize. 

Verdict: Heavily fictionalized but entertaining look at the infamous alleged pirate with an absolutely marvelous Laughton. ***.  

CAPTAIN KIDD AND THE SLAVE GIRL

Anthony Dexter and Eva Gabor

CAPTAIN KIDD AND THE SLAVE GIRL (1954). Director: Lew Landers. 

Captain William Kidd (Anthony Dexter) is convicted of piracy and sentenced to hang (as he was in real life). In this completely fictionalized story, Kidd's death is faked with the complicity of Lord Bellomont (James Seay), who hopes to eventually learn where Kidd's treasure is buried. To that end Kidd is given a new name and put on board a ship helmed by Captain Pace (the ever-uninteresting Lyle Talbot). Also on board is Judith Duvall (Eva Gabor) who was put there to report back to Bellomont. After an adversarial relationship, the two eventually become lovers, possibly because Kidd walks around with his shirt off through much of the movie. Eventually the two encounter Blackbeard (Michael Ross) and lady pirate Ann Bonney (Sonia Sorel). It's a question who will wind up with the treasure and if Kidd and Judith will ever make it back to England. 

Alan Hale Jr. with Dexter

Captain Kidd and the Slave Girl is fast-paced and amusing, with a dashing and adept performance by Dexter, who'd previously played Valentino and appeared in the trash-classic Fire Maidens of Outer Space. Gabor is better than expected, Ross [Attack of the Fifty Foot Woman] makes a blustering Blackbeard, and Sorel is quite effective as Bonney. It's fun watching Kidd turn Gabor into a galley slave early in their relationship, and even more fun watching Gabor and Sorel having a zesty "cat-fight." A hilarious scene has Kidd telling Judith to pretend to be his slave when she is wearing a fancy gown. Someone in the make up department had the lousy idea of painting a beard and mustache on Dexter's face instead of letting him grow one or using a fake beard with spirit gum -- in some shots it looks very strange. Alan Hale Jr. is excellent as Jay Simpson, a good friend of Kidd's who sticks with him to the bitter end. William Tannen also makes an impression as Steve Castle, a decided enemy of Kidd's, and smaller roles are played by William Schallert, Harry Lauter, Ken Terrell, and others who appeared in numerous B movies and serials. Although this movie was released in color, the only print I could find was black and white. 

Verdict: A sexy Kidd never hurts! ***. 

L'ATLANTIDE

Brigitte Helm

L'ATLANTIDE (1932). Director: G. W. Pabst.

Captain Saint-Avit (Pierre Blanchar) and Lt. Morhange (Jean Angelo) are on a mission in the Sahara when they somehow stumble across the lost city of Atlantis. There Saint-Avit becomes pathologically obsessive towards the queen, Antinea (Brigitte Helm of Metropolis), driving him -- at her direction -- to a despicable act against his friend, Morhange. This oddball French production can only be taken seriously if you look at it as a dream or allegory, as little in the movie makes much sense. Although there is some atmosphere in the claustrophobic tunnels through which the cast sometimes travel, there is no attempt at describing or elucidating the realities of this allegedly lost civilization. Brigitte Helm is no raving beauty (as Antinea was in the remake, Siren of Atlantis), but she is quite striking, although it's hard to judge her actual acting ability in this. With his quietly handsome and sensitive features, Pierre Blanchar makes an impression as Saint-Avit, although Jean Angelo is a bit more standard and blustering as his comrade. Vladimir Sokoloff [Beyond the Time Barrier] is excellent as the strange Count Hetman, who was apparently taken to Atlantis from Paris years before -- a long flashback showing him in Paris with Can-Can girls and the like interrupts the main "action," if you can call it that. The movie is strangely sensual, with interesting images throughout, and there are more actual love scenes in the picture than in the remake. What may keep you watching -- even if you can't wait for it to be over -- is Wolfgang Zeller's highly interesting musical score. The novel (by Pierre Benoit) that this was based on was also filmed as the silent film Missing Husbands, the aforementioned Siren of Atlantis, two other Pabst versions also made in 1932 starring Helm but with two different lead actors (Queen of Atlantis and Mistress of Atlantis), a 1972 foreign telefilm and a 1992 French remake, as well as Edgar G. Ulmer's Journey Beneath the Desert.  Pabst is most famous for the silent film Pandora's Box.

Verdict: A curiosity with some interesting elements, but not really an especially good picture. **. 

SIREN OF ATLANTIS

Maria Montez

SIREN OF ATLANTIS (1949). Director: Gregg G. Tallas.

Lt. Andre Saint-Avit (Jean-Pierre Aumont of Carnival of Crime) is found in the desert, delirious, half-starved, wailing about a lost city, an evil queen, and a friend he murdered. In flashback he tells his superiors how after a sandstorm he discovered the lost city of Atlantis -- improbably hidden under the mountains in the Sahara -- where the beautiful Queen Antinea (Maria Montez) loves and disposes of one man after another, and acts cruelly towards her subjects and her slaves. Andre's friend is Captain Jean Morhange (Dennis O'Keefe), who can resist the queen because he's headed for a monastery anyway. Before too long, Andre becomes the favorite of the queen, and presumably does a lot more than play chess with her, but then days go by and Jean is nowhere to be found and the queen isn't calling for Andre ... In his novel "Myron," the sequel to "Myra Breckenridge," Gore Vidal wrote about a Maria Montez flick called Siren of Babylon, and it was probably this picture he was referring to. Not quite a camp classic, it immediately suffers from the fact that it works up absolutely no sense of wonder over this apparently marvelous hidden city, which doesn't seem much different from the kind of places you'd find in those space-babes-on-the-moon epics. Maria Montez is indeed beautiful, if somewhat heavy featured, but her acting is barely adequate. She comes off like a particularly vicious drag queen (not to suggest that most drag queens are vicious). Aumont is fine in an impossible part, and an almost comically miscast O'Keefe doesn't look particularly good in a mustache and goatee. Other characters in the film include Lindstrom (Allan Nixon of Pickup), one of Antinea's cast-off lovers; Cortot (Alexis Minotis of Land of the Pharaohs), an alchemist who had his tongue cut out by the queen; the tragic slave Tanit (Milada Mladova) who dies a horrible death; and Blades (Henry Daniell), the court librarian and philosopher who acts as a kind of butler or assistant and who cackles and belittles the men, primarily acting like the loathsome little cockroach that he is -- Daniell easily offers the best performance in the film. (Movies like this should offer some kind of catharsis, but neither he nor his mistress ever get their comeuppance.) Antinea has her ex-lovers turned into immortal statues. Michel Michelet's score is interesting if a trifle overblown at times, and Karl Struss' photography is fine, especially a sequence in which Andre sees the mirage of an oasis of rushing water in the desert. Aumont and Montez were a real-life married couple from 1946 until 1951 when the Spanish beauty (born in the Domenican Republic) drowned in her bath after possibly suffering a heart attack. She was only 39. Director Tallas also helmed Prehistoric Women, which starred Allan Nixon. It is much worse than this.

Verdict: Everyone should see at least one Maria Montez movie. **. 

THE SAINT: A COMPLETE HISTORY

THE SAINT: A COMPLETE HISTORY IN PRINT, RADIO, FILM AND TELEVISION, 1928 - 1992. Burl Barer. McFarland; 1993.

The threat of a brand-new Saint film probably ignited the publication of this look at the venerable character down through the decades. Barer's exhaustive tome looks at the origins of the character, created by Leslie Charteris, along with a complete publication history of the Saint novels, stories, and reprints, as well as a rundown of each Saint film, the radio series (Vincent Price was one of the actors to portray the Saint), the TV series with Roger Moore and later Ian Ogilvy and others, not to mention The Saint comic books! Throughout the book it is made abundantly clear that Charteris' strangely moral if slightly shady character pretty much made the mold from which other, similar adventurers -- The Falcon, the Lone Wolf,  and many others -- were birthed. The Saint may not pre-date certain pulp characters of the 1920's, but these heroes were nothing like him in any case. The amazing thing about this very informative and entertaining book is that I'm, frankly, not the biggest Saint fan and have never read any of the novels, but I still found the volume very readable and interesting. There are lots of behind-the-scenes details, and Charteris' often acerbic estimations of the movie and TV scripts are amusing. Like all books of this nature written by enthusiastic and knowledgeable fans, it makes you anxious to hunt down the old novels and watch the Roger Moore TV series on Hulu. Alas, the new film version that was in the making when this book was published, finally came out four years later with Val Kilmer playing the part. It was a mediocre movie that didn't make much of a splash.

Verdict: Good show! ***1/2.

KILLER APE

KILLER APE (1953). Director: Spencer Gordon Bennet.

"Fish that climb trees?"

Jungle Jim (Johnny Weissmuller) and the natives have noticed that the crocodiles in the region have become strangely lethargic. Could it have something to do with experiments in secret caverns to create a drug that will enslave mankind? Evil scientists and nice natives alike are menaced by a hulking man-ape (Max Palmer) who lives in the area and keeps trying to carry off the feisty native girl, Shari (Carol Thurston), who at first has an antagonistic relationship with Jungle Jim. This film is fairly lively, and director Bennet keeps things moving. Others in the cast include Michael Fox as a medical officer, Nestor Paiva [Mr. Reckless] as the head bad guy, and Ray Corrigan [Undersea Kingdom], who for once is not playing a gorilla (after his start as a serial lead). By this time the chimp Tamba had taken over the Jungle Jim series in much the same way that Cheetah took over Weissmuller's Tarzan series. Tamba's antics are very funny, and at one point she leads a charge of dozens of maddened monkeys! At the end the chimp drives off in a car! Carol Thurston gives a good performance as Shari; she played Weissmuller's girlfriend in Swamp Fire.

Verdict: You can't beat those Man-apes! **1/2.

COMMANDO CODY: SKY MARSHAL OF THE UNIVERSE

Judd Holdren  and Aline Towne

COMMANDO CODY: SKY MARSHAL OF THE UNIVERSE  (12 episode Republic series/1953). Directors: Harry Keller; Fred C. Brannon; Franklin Adreon.

In the near-future Commando Cody (Judd Holdren of Zombies of the Stratosphere) whose identity "must" be hidden behind a mask "for security reasons," and his team are up against, the Ruler (Gregory Gaye of Dodsworth), an outer space despot who is out to take over the earth, as he has other planets, or destroy it. The Ruler creates weather changes that lead to tidal waves, destroys atomic research stations, employs germ warfare, alternately freezes the earth than causes super-high temperatures via twin suns, then tries to tilt the earth using a magnetic field. In each episode the Commando and his assistants foil the Ruler's plans, taking off to such places as the moon and Mercury when they need to in the Commando's rocketship (he also uses a jet pack to fly). There has always been a debate over whether Commando Cody is a serial or a TV show. Apparently it was originally conceived as a TV series, but for some reason was shown in theaters first as a series of short films (the episodes don't end with cliffhangers as serials usually do, but are more or less self-contained). The series was then shown on television. In any case, Commando Cody is a lot of fun, with adequate acting and more than serviceable special effects. Along with the colorless Aline Towne, William Schallert [The Man from Planet X] and Richard Crane play Cody's associates, Lyle Talbot is cast as an equally colorless earth guy working with the Ruler, and Rick Vallin plays Captain Duron. Gloria Pall is the space babe who answers messages for the Ruler; she is decorative and little else.

Verdict:  You either love this stuff or you just hate it! ***.

TARZAN AND THE HUNTRESS

Cheetah's pals

TARZAN AND THE HUNTRESS (1947). Director: Kurt Neumann.

"We really have to do something about Cheetah -- she's getting as vain as a peacock." -- Jane

Animal trainer Tanya Rawlins (Patricia Morison of The Fallen Sparrow) comes to Africa with boyfriend Carl Marley (Jack Warburton), and hooks up with gruff Paul Weir (Barton MacLane of Cry of the Werewolf) for help. Tanya importunes King Farrod (Charles Trowbridge of The Fatal Hour) to allow them to take many animals out of the jungle, but the king says they can only take a pair of each species. A bigger problem for the king is that his evil nephew, Ozira (Ted Hecht), is plotting against him. A bigger problem for Tanya is that Tarzan (Johnny Weissmuller) is mightily opposed to anyone caging his animals and takes decided action with the help of Boy (Johnny Sheffield) and Jane (Brenda Joyce). Desirous of a compact owned by Tanya, Cheetah, unfortunately, winds up playing into the hunters' hands, for shame. Boy also does the wrong thing by taking two bear cubs from their mother in exchange for a flashlight he covets. Tarzan and the Huntress is the penultimate Tarzan/Weissmuller film, and it's one of the better of the latter "B" movie entries, with plenty of, at times, bloodthirsty action and a very fast pace. Cheetah gets a large share of the screen time, and has a funny encounter with bees -- the finale with the chimp parachuting out of an airplane is priceless. As usual, we've got a lot of elephants going on the rampage. Maurice Tauzin plays Prince Suli, the son of the king. Paul Sawtell's musical score is a decided asset. This was Sheffield's last appearance as Boy.

Verdict: Exciting and amusing Tarzan adventure. ***.

SWAMP FIRE

SWAMP FIRE (1946). Director: William H. Pine.

The teaming of Johnny Weissmuller and Buster Crabbe as adversaries who come to blows is the chief selling point of this pot-boiler. Although Weissmuller is top-billed, probably because of his Tarzan films, the main character is actually played by Crabbe. Mike Kalavich (Crabbe) returns from  the war and back to the Louisiana bayou, where a lack of confidence interferes with his ability as a pilot to safely guide ships through the Mississippi river. People think he's lost his nerve when he makes a decision that costs him his cargo, but not human lives. Meanwhile Johnny Duval (Weissmuller) returns from combat duty to his home on the Delta and eventually comes into conflict with Mike. Mike, who joins the Coast Guard, is involved with Toni (Carol Thurston) but a spoiled heiress named Janet (Virginia Grey) has set her cap for Mike; she and Toni have a lively bitch-slap session and a hair-pulling match that is probably the highlight of the picture. Crabbe isn't bad in this, but as expected, the best performance comes from the always-vital Virginia Grey [Another Thin Man] . Pierre Watkin is also in the cast as Grey's father, but then Watkin seems to have been in virtually every other movie ever made and is competent but little else in all of them. Weissmuller and Crabbe also appeared together in the "Jungle Jim" film, Captive Girl.

Verdict: Two Tarzans and Olympic swimming champs face off but the results are less than spectacular. **1/2.

LORD OF THE JUNGLE

Bomba (Johnny Sheffield) relaxes in his tree

LORD OF THE JUNGLE (1955). Written, produced and directed by Ford Beebe.

"You're stubborn and spoiled but I like you anyway." -- Bomba to Mona

"For heaven's sake, Bomba, kiss the girl good-night so the rest of us can get some sleep." -- Andy to Bomba

Commissioner Andy Barnes (Leonard Mudie) receives a visit from his spoiled niece, Mona (Nancy Hale), just as a group of  elephants are going on the rampage and tearing through one village after another. Hunter Jeff Wood (Wayne Morris) wants to kill off all of the elephants, while Bomba (Johnny Sheffield) argues that all they need do is destroy the rogue elephant who is influencing the rest of the pack. This difference in opinion not only brings Bomba into conflict with Wood and other hunters, Paul (Paul Picerni of Mara Maru) and Kenny (William Phipps of The Boss), but also with Barnes. Lord of the Jungle is the final Bomba film, and it's one of the best of the series, with 24-year-old Sheffield continuing to charm as the jungle "boy." It is revealed that Bomba, whose last name is actually Hastings, inherited much of the land "from the Mogli river down to the Mangu" from his father. Bomba gets to kiss a woman in this film, but the gal is betrothed to another. Nancy Hale later joined the cast of Whirlybirds on TV. Others in the cast include Joel Fluellen as Molu and Juanita Moore as his wife, and Harry Lauter as the pilot who flies Mona into the African interior.  There's a nice score by Marlin Skiles. This was the last film Sheffield [Tarzan Finds a Son!] was to appear in.

Verdict: Farewell Bomba! **1/2.

KING OF THE CONGO

Buster Crabbe

KING OF THE CONGO (15 chapter Columbia serial/1952). Directors: Spencer Gordon Bennet and Wallace Grissell. 

Air Force captain Roger Drum (Buster Crabbe) is to complete a flight to South Africa under the identity of a spy who is to make contact with a subversive "mystery group." Drum crashes, and for a while has no idea who he is, but at first the "reds" see him as their comrade. Since Drum is able to peal a sacred gong he is heralded by the primitive, all-white "rock people" as the heroic "Thun'da," and runs around in a loincloth. Drum/Thun'da first appeared in a brief comic book series -- sub-titled "King of the Congo" -- before Columbia turned it into a minor serial with highly familiar elements. In addition to those nasty reds, who are after a radioactive mineral, there is a group of Cavemen ruled by the corpulent if powerful Kor (Rusty Wescoatt). There is a native princess named Pha (Gloria Dea) and a High Priest (William Fawcett) who wears a long, silly wig and can witness future events in his crystal ball! There's also a cute chimp who acts like Cheetah at times but is never given a name. There's a comical scene when henchman Andreov (Rick Vallin) is "tortured" by a lamp and headphones playing jazz! The best cliffhanger has Thun'da trapped in quicksand while nasty natives keep chucking spears at him and try to push a log away before he can grab hold of it and save himself. Crabbe has dark hair for this picture.

Verdict: Not one of the more memorable Columbia serials and Crabbe's last. **.

TARZAN AND HIS MATE

Cheeta gives Tarzan a kiss

TARZAN AND HIS MATE (1934). Director: Cedric Gibbons.

In  this first sequel to Tarzan the Ape Man, Harry Holt (Neil Hamilton), who is still in love with Jane (Maureen O'Sullivan) returns to Africa to try to get her back, as well as to get some ivory. His slimy friend, Martin (Paul Cavanagh), is broke and after ivory as well, and has no moral values whatsoever. Harry wants Jane to importune Tarzan (Johnny Weissmuller) to take the men to the elephants' graveyard -- which Holt was trying to find in Tarzan the Ape Man - but Tarzan won't allow the place to be desecrated -- besides, Jane's father is also buried there. Then there is an angry tribe of nasty natives who go after the party and kill many of their number after first murdering two rival ivory hunters, whose corpses are left to rot, hanging from trees and covered with crawling insects. Tarzan and His Mate is essentially a retread of the first, more interesting picture, but it is also intense and violent, and has several good scenes: Tarzan battling a truly humongous crocodile; Jane taking a sensual nude swim with Tarzan (in his loincloth); and a climactic attack by a pride of hungry lions. The original Cheeta, who appears almost man-sized, dies in the film and is replaced by a new, smaller Cheeta, who at one point, in the movie's funniest scene, rides on the back of an ostrich! Considering some of his actions, Martin's death isn't nearly horrible enough. The performances are adequate, with Cavanagh [Son of Dr. Jekyll] having the edge. Cedric Gibbons was originally an Oscar-winning art director [Mad Love] and reportedly Jack Conway and others worked on this film uncredited. Gibbons only directed this one film.

Verdict: For heaven's sake -- stay away from the elephant's graveyard. Nothing good ever comes of it! **1/2.

TARZAN ESCAPES

Love story: Johnny Weissmuller and Maureen O'Sullivan

TARZAN ESCAPES (1936). Director: Richard Thorpe.

Rita Parker (Benita Hume of Suzy) and her brother, Eric (William Henry of The Thin Man), come to Africa to see if they can importune their cousin, Jane (Maureen O'Sullivan), to come back with them to London, citing a complicated will that needs her attention. Rita and Eric hire Captain Fry (John Buckler) to take them into the dangerous territory where Jane resides with Tarzan (Johnny Weissmuller), but he turns out to be an evil character who has sinister ulterior motives. Warned to watch out for the tribe of Bogonis, the group discover that an even more savage tribe is intent on killing everyone. For much of its length Tarzan Escapes is more of a cuddly domestic romance detailing Jane's idyllic life with her lover, Tarzan, but in the final quarter there is plenty of action. Reportedly Tarzan Escapes was considered too gruesome in its original form to be released and there was lots of re-shooting. When Jane and Tarzan take a swim as they did in Tarzan and His Mate, Jane now wears clothing. Although some bat monsters have been edited out of the film, there is a disturbing scene when one poor native is tied to two trees and then drawn and quartered, which is made clear if not graphically depicted (which makes one wonder what the 1936 censors thought of as "gruesome.") Late in the picture the group must escape through a cave that is filled with lakes of lava and gator-sized lizard monsters. One of the most interesting characters is Rawlins (Herbert Mundin of Charlie Chan's Secret),  whose first sight of Tarzan has him falling in a faint, although the two eventually become buddies. Rawlins later shows his bravery in trying to save the Ape Man's life, and pays a sad price for it. Of course, all of the victims, black or white, are forgotten by the end of the movie. O'Sullivan and Weissmuller make the most of their rather sensual romantic sequences, which are quite well-acted, and the other performances are all adroit. A scene with Tarzan killing a giant crocodile is lifted almost entirely from Tarzan and His Mate. In this picture, our favorite chimp -- now spelled "Cheetah" -- is female. Cheetah mischievously -- or bitchily -- places a little doe on a log and sets the animal adrift, necessitating Tarzan's rescuing the deer from said crocodile.

I wondered why I wasn't more familiar with John Buckler, who is quite good as the nasty Captain Fry, and discovered -- as is, sadly, often the case -- that Buckler died at age thirty after finishing this picture. He and his father, Hugh Buckler, also an actor, were in a car that skidded into the water in Malibu Lake, CA. Both drowned.

Verdict: Absorbing Tarzan epic. ***.

TARZAN FINDS A SON!

John Sheffield and Johnny Weissmuller

TARZAN FINDS A SON! (1939). Director: Richard Thorpe.

A young couple (Laraine Day; Morton Lowry) are killed in a plane crash in Africa but their infant son survives, and is in essence adopted by Tarzan (Johnny Weissmuller) and Jane (Maureen O'Sullivan), who simply call him "Boy" (John/Johnny Sheffield). Greedy relatives August Lancing (Ian Hunter of The Sisters) and his wife (Freida Inescort), along with their Uncle Thomas (Henry Stephenson of Red-Headed Woman), and guide Sande (Henry Wilcoxon of Cleopatra), come to the Dark Continent to see if they can find any trace of the family, with the Lancings, of course, hoping they don't, for reasons to do with inheritances. Meeting Boy, Thomas suspects the truth, and Jane and Tarzan argue about whether or not to let Boy go back to claim his heritage. But August Lancing's duplicitous and evil mind, as well as a deadly native tribe called the Zembeles, may make it all moot. Tarzan Finds a Son! is a very entertaining Tarzan adventure, with very good performances from all, including a charming Sheffield, and many exciting scenes. There are more wild life shots than usual, as well as some excellent underwater sequences, especially one in which Tarzan and Boy go swimming with a baby elephant. Tarzan has a struggle with a kind of boar-hippo creature that nearly tramples Boy at one point. The Zembeles, who figure in the climax, don't just shrink heads, but entire bodies, in a process that isn't clearly delineated but seems rather frightful. Jane refers to Tarzan as her husband for, I believe, the first time. The movie has hardly any music, which would have added to its already considerable appeal.

Verdict: One of the better Tarzan adventures. ***.

TARZAN'S SECRET TREASURE

Weissmuller and O'Sullivan

TARZAN'S SECRET TREASURE (1941). Director: Richard Thorpe.

Tarzan (Johnny Weissmuller), Jane (Maureen O'Sullivan), and Boy (Johnny Sheffield) are leading an idyllic life above their escarpment in Africa, when along comes Professor Elliott (Reginald Owen of The Letter) and party. Elliott is a scientist looking for the Van-Usi tribe, and he is accompanied by photographer O'Doul (Barry Fitzgerald of And Then There Were None), and the guides Medford (Tom Conway) and Vandemeer (Philip Dorn of Underground). Unfortunately, the latter two prove up to no good as Boy shows them a piece of gold and tells the others that Tarzan knows where there is a rich vein of it. After some melodramatic moments, everyone comes afoul of some natives intent on murder. Tarzan's Secret Treasure is a kind of schizoid movie, beginning with the silly if charming antics of Cheeta and her "friend," Buli, the elephant, as well as the childish if cute scamperings of Boy, but it veers off into something much darker in the second half. The scene when a native is torn in half in Tarzan Escapes is repeated -- one way of getting around the censors as well as of saving money -- and when a second native is similarly killed in new footage, we aren't shown the trunks heading in separate directions, possibly another sop to the censors. There are several shots of natives being chewed on by crocodiles, and the sequence wherein Tarzan battles a giant croc underwater is repeated for a second time. There isn't much that is original in the picture, aside from a little native boy named Tumbo (Cordell Hickman) who has lost his mother and becomes friends with Boy in the film's most charming sequence. Jane was to have been killed off at the end of Tarzan Finds a Son! because she was tiring of the series -- we do see her being speared in the back at the end of that film -- but the public outcry necessitated her return. Although O'Sullivan was never a great beauty per se, she has never looked more attractive than she does in this movie. She gives a very good performance, as do the others in the cast, including little Hickman.

Verdict: Still some life left in the series. **1/2.

TARZAN'S MAGIC FOUNTAIN

Lex Baker took over the role of Tarzan

TARZAN'S MAGIC FOUNTAIN (1949). Director: Lee Sholem.

Aviatrix Gloria James (Evelyn Ankers of The Pearl of Death) disappeared twenty years before but her plane and diary are found by Tarzan. Since James' testimony is required to free a jailed man, Tarzan goes to a hidden city -- full of what could best be described as white Aztec-Romans -- to bring Gloria back, and discovers she hasn't aged a day in all those years. Naturally there are unscrupulous people who hope to discover the Fountain of Youth, such as Trask (Albert Dekker) and Dodd (Charles Drake). In a development that borrows from Lost Horizon, Gloria ages as soon as she gets home, and returns to Africa with her husband, Douglas (Alan Napier), where the two hope that Tarzan will guide them back to the Blue Valley where she lived all of those years. But Tarzan is opposed to the plan, and some nasty residents of the hidden city -- against the orders of their leader, the High One (David Bond) -- do their best to kill him and anyone else who knows of the pathway to their valley. Tarzan's Magic Fountain was Lex Barker's first appearance as Tarzan, and he's fine, playing it in the nearly monosyllabic mode popularized by Johnny Weissmuller. Brenda Joyce, who replaced Maureen O'Sullivan as Jane in the last Weissmuller movies, returns as Barker's Jane, but this was her last appearance in the role -- and her last picture, as she promptly retired from the movie business. Johnny Sheffield as Boy had already left the series and turned into Bomba, and he was not replaced in the role. Tarzan's Magic Fountain has an interesting premise, but not a lot is done with it, and the screenplay is mediocre, as is the direction; Lee Sholem mostly directed TV episodes. The ever-versatile Henry Brandon plays one of the Blue Valley natives who wants to kill Tarzan for allegedly giving away the secret location of their city; Rick Vallin is another one of those natives. Elmo Lincoln, one of the first Tarzan's, supposedly plays a fisherman, but he is not credited. Cheetah's cutest scene of many is her encounter with bubble gum. When she regains her youth at the end of the movie, she turns into a different species of ape! Albert Dekker and Charles Drake also appeared together in The Pretender.

Verdict: Barker is fine, but it's an inauspicious debut for him. **1/2.

ELEPHANT STAMPEDE

Johnny Sheffield as Bomba and Donna Martell as Lola

ELEPHANT STAMPEDE (1951). Writer/director: Ford Beebe.

"If I was thinking of myself, I wouldn't have come to Africa." -- Miss Banks

Some evil men have come to Africa to, naturally, get some ivory, and, also naturally, don't care who gets hurt as they take after some tusks. Bob Warren (John Kellogg) and Joe Collins (Myron Healey of Varan the Unbelievable) murder Deputy Commissioner Mark Phillips (Guy Kingsford), with Warren pretending to be the dead man so he can ingratiate himself with some villagers and their white teacher, Miss Banks (Edith Evanson of Life with Henry). The villagers know of a secret cache of ivory that can pay for their continued schooling, but the bad guys have other plans. Enter the almost mythical Bomba (Johnny Sheffield), who routs the villains, saves the ivory, and breaks the heart of pretty little native girl, Lola (Donna Martell of Abbott and Costello Meet the Killer, Boris Karloff), who teachers Bomba how to read but gets swimming lessons in return instead of kisses. Dumb Bomba! Leonard Mudie is back as the official, Andy Barnes, and Martin Wilkins plays Chief Nagala. The elephants create a minor ruckus at the end of the film,. but it can't really be called a "stampede" -- the budget for this Monogram cheapie was too low. The film has a kind of bittersweet coda involving the non-lovers.

Verdict: Sheffield and Martell make an appealing almost-couple. **1/2.