American animal trapper Frank Buck travels with Ali, his "number one boy," on an expedition into the Malayan jungle. From their jungle headquarters just north of Singapore, Frank, Ali and a...
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Pith-helmeted Buck is a Great White Hunter who here (unlike the real one from the 1940s) works out of the Raffles Hotel bar in Singapore during the 1930s fighting all kinds of bad guys in pre-war Malaya.
"Frank Buck's Jungle Cavalcade" is nearly a 100% compilation film that consists of footage from three previous Frank Buck expedition films; "Bring 'em Back Alive," "Wild Cargo," and "Fang ... See full summary »
A sequel to Frank Buck's 1932 "Bring 'em Back Alive", has Buck capturing just about one of everything that moves (homo-sapiens excepted) in the jungles of Malaya, with details of the ... See full summary »
American animal trapper Frank Buck travels with Ali, his "number one boy," on an expedition into the Malayan jungle. From their jungle headquarters just north of Singapore, Frank, Ali and a team of native helpers roam the area from Northern Johore to Perak in search of interesting wild animals, reptiles and birds. Hoping to find a tiger, Buck captures a monitor lizard and a black leopard, while another black leopard narrowly escapes an encounter with a giant python and then battles a bigger and stronger tiger. After trapping a spotted leopard, Frank adopts a baby honey bear and a baby elephant. The team catches an orangutan, but the tiger eludes their camouflaged pit. Meanwhile, Frank visits the "bathing festival" of a local tribe and watches as tribesmen kill an intruding spotted leopard with blow darts. The tiger then meets an enormous regal python, who has just crushed a crocodile, and fights to a draw with it. Written by
Fiona Kelleghan <email@example.com>
Frank Buck and early sensitivity to nature and the environment
Seventy years ago, big-game hunting was still considered a heroic and thoroughly admirable endeavor. The slogan "bring 'em back alive," adopted by Frank Buck, was an important turning point in this period, popularizing ideas which are far closer to today's notions of environmental protection. Buck was a businessman, who by the 1920s developed a thriving trade bringing animals back from Asia and selling them to the zoos of the United States and Europe. With the onset of the Great Depression, Buck, like many others, went bankrupt, but this opened up a new and far more important part of his career. Buck turned his real experience of capturing wild animals into a series of articles for magazines such as the Saturday Evening Post and Collier's. This led to a contract for a book with Simon and Schuster, entitled Bring 'em Back Alive, that became a runaway best seller. Bring 'em Back Alive remained steadily in print for more than two decades, and the phrase that would always henceforth be associated with Buck's name. With the success of the book, Buck moved on to his long-standing dream of making jungle pictures, inspired by a desire to improve on the films of Ernest Schoedsack and Merian C. Cooper. However, Buck had difficulty interesting a major studio in a movie version of Bring 'em Back Alive; he found it far easier, he recalled, to get an audience with the ruling maharajahs of India than the movie moguls, who saw no possibilities in animal films. Finally Van Beuren Pictures, a producer of shorts releasing through the new Hollywood studio, RKO, agreed to back Buck for an expedition to the Malayan jungles to produce thirteen short films. Shooting in Malaya, Sumatra, India and Ceylon, for nine months, Buck found that the animals themselves made up the story regardless of plans. Upon returning, Buck convinced Van Beuren that the footage could best form a feature-length movie, and in 1932 BRING 'EM BACK ALIVE became one of the most popular pictures of the year. Buck proved not only to be a raconteur on the printed page, but with his experience on the stage and as a showman from his youth capably played the starring role and proved the perfect narrator. He introduced the picture personally to audiences during its New York first run. Just as the success of the book prompted a follow-up, entitled Wild Cargo, by 1934 a second picture was produced under this title, shot in Ceylon, Sumatra, Malaya and northern India. This time, the emphasis on battles between animals was replaced with the ingenious methods used to capture them, and WILD CARGO was again profitable. Buck was very much a man of his time who embodied many of the attitudes of an era. There are occasional lapses from today's perspective, such as the references to his native assistants as his "boys"a problematic designation he does explain in his books. Parts of his documentaries were indeed staged, but no more than was usual then, or now, to reconstruct actual events. Overall Buck promoted a sympathetic understanding of Asian wildlifeand people--at a time when both were still a novelty to Western eyes.
Buck's third book was entitled Fang and Claw, concentrating on the people of the far east that he had known, and in 1935 he directed a film of the same title that had little in common with the book. In contrast to the excitement of the first two movies, FANG AND CLAW was less spontaneous and planned to concentrate on the more prosaic aspects of Buck's business. Censors had clamped down on scenes revealing the violence in the animal kingdom. However, these same aspects caused FANG AND CLAW to be the first of Buck's films promoted to youth as learning tools by the National Education Association. It was the first of several Buck projects to reveal an increasing emphasis on the importance of children and fictional elements to Buck's audience, and he began to appear in films directed at this audience. By this time, Buck had secured a firm position as an American hero. The market offered Frank Buck medals, letter openers, pith helmets, giraffe pins, rings, neckerchiefs, brooch and jewelry, bracelet, knife, soap, pencil boxes, watches, and games. His endorsement was sought for such products as tires, guns, whiskey, food, automobiles, toys, clothing, and cigarettes. In addition, he told his stories over the radio, and was portrayed by actors on the air. He was also back in business importing animals for zoos. Buck could be seen in person at circus performances, and mounted important exhibits of his live animals, most notably at the 1939 World's Fair in New York. He went on the lecture circuit with his documentary footage. What makes his utilization of all these media all the more amazing is that he was a commodity, rather than a producer or distributor, such as a Walt Disney, in a time when different media outlets were all separate companies.
In 1948 RKO reissued BRING 'EM BACK ALIVE and Buck's career underwent a brief renaissance. That year, Buck returned to his hometown of Gainesville, Texas, to dedicate the Frank Buck Zoo, still the only existing memorial to the man and his work. By then, however, he was in failing health, and died in 1950 at age 66. Despite all the dangers Buck found himself in, his life ended not because of any wild animal, but from lung cancer caused by decades of cigarette smoking. Buck and his slogan of "bring 'em back alive" were an important part of introducing two generations to progressive ideas about the environment and the animal kingdom. His stories remain just as enjoyable as ever, and an anthology of the best of his writing was published in Buck's home state by Texas Tech University Press. Through his use of a multitude of media, including writing, films, radio, circus appearances, and exhibitions, Buck was an icon who epitomized an intelligent and conservation-minded interest in the wildlife of Asia.
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