| Johnny Weissmuller | ... | Tarzan | |
| Brenda Joyce | ... | Jane | |
| Johnny Sheffield | ... | Boy | |
| Patricia Morison | ... | Tanya Rawlins | |
| Barton MacLane | ... | Paul Weir (as Barton Maclane) | |
| John Warburton | ... | Carl Marley | |
| Charles Trowbridge | ... | King Farrod | |
| Ted Hecht | ... | Prince Ozira | |
| Wallace Scott | ... | 'Smitty' Smithers | |
| rest of cast listed alphabetically: | |||
| Georges Renavent | ... | Man Weighing King (uncredited) | |
| Mickey Simpson | ... | Monak (uncredited) | |
| Maurice Tauzin | ... | Prince Suli (uncredited) | |
Directed by | |||
| Kurt Neumann | |||
Writing credits(in alphabetical order) | ||
| Edgar Rice Burroughs | characters | |
| Jerome Gruskin | screenplay (as Jerry Gruskin) | |
| Jerome Gruskin | story (as Jerry Gruskin) | |
| Rowland Leigh | screenplay | |
| Rowland Leigh | story | |
Produced by | |||
| Sol Lesser | .... | producer | |
| Kurt Neumann | .... | associate producer | |
Original Music by | |||
| Paul Sawtell | |||
Cinematography by | |||
| Archie Stout | |||
Film Editing by | |||
| Merrill G. White | (as Merrill White) | ||
Production Design by | |||
| Phil Paradise | |||
Art Direction by | |||
| McClure Capps | |||
Costume Design by | |||
| Harold Clandenning | |||
Makeup Department | |||
| Irving Berns | .... | makeup artist | |
Production Management | |||
| Clem Beauchamp | .... | production manager | |
Second Unit Director or Assistant Director | |||
| Bert Briskin | .... | assistant director | |
Sound Department | |||
| Frank McWhorter | .... | sound technician | |
Stunts | |||
| Paul Stader | .... | stunts (uncredited) | |
Editorial Department | |||
| John Sheets | .... | associate film editor | |
Other crew | |||
| Albert Antonucci | .... | trainer: cheetah (uncredited) | |
| Leslie Charteris | .... | screenplay constructor (uncredited) | |
| B. Reeves Eason | .... | director of elephant stampede (uncredited) | |
| Bob Larson | .... | production assistant (uncredited) | |
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| Tarzan Escapes | Tarzan and His Mate | Darkest Africa | Mogambo | Tarzan Triumphs |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Action section | IMDb USA section |
In 1942, America's biggest film studio MGM scrapped its legendary Tarzan series, with the option being snapped up by the smaller RKO. There, Johnny Weissmuller was to strap on the surprisingly-revealing Hays Code-approved loincloth a further six times. The first couple saw him scrapping with Nazis, with the second - Tarzan's Desert Mystery (1943) - being as good a piece of nonsensical fluff as you're ever likely to find. I was a bit down on films three and four, as they're tired and largely gloomy affairs, but the penultimate entry - Huntress - is a partial return to form. Its major strength is an understanding of the series' in-built mythology and a welcome sense of fun. Like Superman Returns, then, only not as good. As with the first two MGM entries - the patchy Tarzan, The Ape Man and the superb Tarzan and His Mate - Tarzan's jungle paradise is invaded by hunters, a more sensible plot line than we've come to expect from these Sol Lesser yarns. The villainous gang includes former Warner heavy Barton MacLane and the eponymous huntress - Patricia Morison. Though the film is a touch confused about the morality of stealing animals from the jungle (presumably that was how the bulk of its supporting players came to Hollywood), Tarz does ultimately get pretty narked about the whole thing, leading to a series of lively showdowns. He's accompanied once more by Brenda Joyce and Johnny Sheffield, whose Boy is now a man, with a deep, booming voice. Where the film really scores is in its embracing of the Tarzan legend as our hero lets rip not once, but twice, with his famous yell. The first - so unexpected after four films without it - is a euphoric moment that seems to strip away 15 years of typecasting and weight gain from its wonderful star - if only for a few seconds. For all the film's deficiencies, like a messy, jumbled narrative and comedy scenes shoehorned in at apparently indiscriminate junctures, those two scenes are jolts of pure joy.