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A lot of people expect Capt. America stories to be jingoistic right
wing combat porn, but in the mid-1970's, writer Steve Englehart did a
kind of parallel Marvel Universe Watergate-saga called 'The Secret
Empire,' which showed corruption reaching the pinnacle of US politics,
and Capt. America was confronted with reality.
And in the early 2000's, writer Ed Brubaker again brought contemporary politics and war into the Capt. America storyline with the original version of the Winter Soldier. Brubaker's run writing Cap was the best ever for Our Hero.
This film is a brilliant synthesis of the best political CA story lines and the 1970's conspiracy movie thrillers, such as 'Day of the Condor' and 'All the President's Men,' and the presence of Robt. Redford here is a clear signal of what the directors intend.
It's also clear to anyone with the slightest bit of imagination that the main plot is a hard-hitting critique of the US's policy of assassination-by-drone...Cap's pal Nick Fury intends to pre-emptively rub out 20 million 'bad guys' in order to (supposedly) protect 7 billion.
Chris Evans nails the difficult part of being an earnest and noble man in the modern world, and there is copious high quality super-heroic stage business, as Cap (and his pals Black Widow and the Falcon) smash their way through the requisite armies of henchmen and super-villains. The directors and fight choreographers also nailed the difficult task of translating Kirby-esque shield-slinging fight scenes into cinematic reality...this film, like the 2013 Thor movie, was like a living silver-age Marvel comic.
So we have been given a pulse-pounding conspiracy thriller and socio- political critique, delivered in the mighty Marvel manner. This is the best (so far) of the comic-book movies. But will it spur a discussion? Will it awaken America to the sense of outrage we so adeptly suppress...the grim reality that we inhabit the Drone nation...sending our aerial buzz-bombs into the world, killing thousands of innocents? Will this film knock our blinders off, bring the realization that our mealy-mouthed pseudo-liberal and belligerent right-wing politicians are bringing unprecedented death and destruction to the world? Only time will tell.
But it's telling that in a time of political corruption of a scale and nature which makes the Nixon Administration look like a church picnic, the only main-stream film with the guts to speak up is a comic book movie.
In the spring of 1968, my parents were mourning the deaths of MLK and
RFK. But I was 4 years old, and like most of the kids in my
neighborhood, I was mourning the cancellation of the Batman TV series.
I was probably among the youngest of those who watched this series
during the original run...certainly most of the other kids in the
neighborhood who watched were older, being in grade school or junior
For kids of this era, I can testify that there was no TV show more important than Batman...and that is saying a lot, seeing as Batman was contemporary to 'The Wild Wild West,''The Avengers,''The Time Tunnel,' 'Mission Impossible,''Lost in Space,' 'Green Hornet,' 'Tarzan,' 'Man from UNCLE,' 'Star Trek,' and other classic fantastical series of the era.
At age 4, not only did I consider Batman to be a realistic depiction of modern crime-fighting, I also believed that it was perfectly appropriate for grown men to have a secret hide-out beneath their house containing super crime-fighting equipment including a souped-up car, and for grown men to wear masks and costumes and participate in elaborately choreographed fist fights with other grown men. To reinforce the part about the fist-fights, my brother, who was 2 years older, used to practice punching during the commercial breaks, and I happened to be the closest practice target.
Years later, I was 11 years old, and syndicated reruns of Batman became available via the UHF TV stations in the Ohio area, and so I watched the show again. This was a revelation to me, because my memories from age 4 had recorded this series as being a mythic epic of the highest order, both stunning and sublime. Yet at age 11, my childish memories collided with 6th-grade sophistication, and I could now see that Batman had been played for laughs. Fortunately, I had previously been familiarized with the concept of satire, and so was developmentally ready to understand that the series was a kind of meta-joke, a spoof on all things fantastical and heroic, of which there was so much in the mid-1960's. I enjoyed the big joke, but still secretly savored the fantasy of crime- fighting adventure, super weapons and wild gear.
Since those days, I have revisited the series now and again, in college and adulthood, and what impresses me is the brilliance of the heroes' and villains' suits, the brilliant visual design of the batcave and their gear, the brilliant performances, especially Adam West and Frank Gorshin, and the brilliant scripts from Season 1, when the great Lorenzo Semple Jr. had the biggest influence in the show. For that brief, shining period, it was a pop-art satire played straight, working simultaneously as a kid's adventure and as subversive giggles for grown-ups. The clearest example of a multi-level TV series that ever existed. The brilliance of Season 1, and of the 1966 feature film, make up for the gradual decline in quality that began in Season 2 and then escalated in Season 3.
The end was humiliating and cruel for this series, as ratings fell and talent fled in Season 2 and Season 3. And as Batman's star fell, so did the fortunes of almost every other fantastical TV series of the era...Man from UNCLE, Voyage to the Bottom of the Sea, Lost in Space, etc....all were gone by the end of 1969 except for 'Land of the Giants' (ending in 1970) and 'Mission Impossible' (ending in 1973). But as for the others, it was as if they were all dinosaurs, killed by the same meteorite that killed Batman. In reality, I have to suspect that Batman's spectacularly rapid rise and fall in ratings must have spooked the advertising and TV people, so that shows like 'Ironside' and 'Hawaii Five-Oh' seemed better bets.
All the same, the reruns remain. The glory days of this show, as an epic for kids, as Don Quixote for adults, still shine.
'Now...Tarzan Make Propaganda!'
A lot of people seem to have a bias against the RKO Tarzan films, but in truth, it was MGM which gradually morphed the Tarzan franchise from A-picture status to B-picture status, gradually reducing the budget and running time of each picture. And MGM had a bad habit of recycling footage from previous entries in the series...how many times did audiences have to watch the trapeze-vine and the crocodile-wrestling scenes?
In fact, it was probably a good thing that the franchise migrated from MGM to RKO, because RKO made some of the best B-pictures of all time, including many classy ones like the Val Lewton horror series, whereas MGM treated their B-pictures like red-headed step-children. Here we get a brand-new plot and a good script, and we get to see Tarzan fighting a bunch of WW2 Jerries. Thanks to Indiana Jones, it turns out that Nazis are timeless villains, which likely would have surprised the creators of this film, who clearly were content to make a fun propaganda piece.
Above all other considerations, we get Weissmuller and his distinctive portrayal of Tarzan. Maureen O'Sullivan, who was wonderful in her own right and who brought out the best in Weissmuller, is absent here, but we find that Our Hero delivers a good-to-excellent performance throughout, being strangely moving in the scene where Boy reads Jane's letter and his righteous fury is very effective when he utters this famous line: 'Now...Tarzan make war!'
Frances Gifford was an excellent choice as the beautiful and brave princess Zandra, who besides being eye-candy for the adolescents and adults in the audience, has very good chemistry with Weissmuller. Perhaps the chemistry is a little too good...Zandra attempts to persuade Tarzan to help by engaging in some enjoyable flirtation...if Jane had seen the two swimming and sunbathing together, if she had seen Zandra leaning her head on Tarzan's bare chest in a moment of despair, she might not have come back from London in 'Tarzan and the Amazons.'
The MGM Tarzan films were marred by blatantly racist depictions of African tribes. For some reason, the RKO Tarzans seem to have few dark- skinned African tribes, but numerous groups of hidden pale-skinned cities. I don't know why RKO's fictional Africa was populated this way, but I will speculate that it may be due to the fact that in WW2, the US govt. made certain efforts to squelch racism in the media, due to the fact that excessive racial oppression was deemed bad for the war effort. DC Comics, who published the Justice Society of America, did some anti-racism comics during the war, at the behest of the War Department.
Whatever the reason, we are spared the usual bad African stereotypes, but at the same time, it is odd to think of an Africa inhabited mostly by pale-skinned people.
The action and violence in this film are, by the standards of B-movies and Weissmuller Tarzans, very good and satisfying, particularly the sequence where Tarzan tracks and taunts the lead Nazi. Sig Ruman, who played Sgt. Shultz in my favorite Christmas movie, 'Stalag 17,' plays a comedy-relief Nazi here, to good effect.
The Nazis go to Africa seeking oil and strategic mineral wealth, and they use military domination to secure their holdings...the Jerries' troops were called 'Africakorps.' Today, the USA and other military powers are still active in many African nations, perpetrating intrigue, fomenting violence, allying themselves with unsavory characters and regimes, so as to secure petroleum and strategic minerals, such as coltan, which is vital for cell phones and personal electronics. The USA has 'Africom.' Now more than ever, the world needs a Tarzan. Barring that possibility, at least we can watch and contemplate this fun adventure.
*** This review may contain spoilers ***
There are two facts that if you know going in, might increase your
appreciation of this film:
1) Johnny Sheffield, who played Boy, loved Johnny Weissmuller like an uncle. Sheffield gave a little speech upon Weissmuller's death, and wrote a foreword to a Weissmuller biography, each glowing with praise and affection for the star. The two were in about 7 films together, spanning ages 7-16 for Sheffield...knowing that there was genuine friendship will help you appreciate their scenes together.
2) This film was originally conceived and scripted to be Jane's swansong in the series, due to Maureen O'Sullivan becoming discontented in the role. (Since the reader of this review likely knows that O'Sullivan starred in 2 more Tarzan pics after this, this is not too great a spoiler.) The script originally called for Jane to die near the end of this film, and knowing this will help you appreciate a speech she gives to Boy, and O'Sullivan's performance as well. Also, this knowledge will help you tolerate the fact that the producers added a kid sidekick to the Tarzan series...when this film was conceived, the producers believed Jane would be gone, and that Tarzan needed another person to talk with, to help with exposition, and to be captured so as to help make the plot more compelling. Modern viewers such as myself generally despise kid sidekicks, but in the 1930's they were an accepted convention...in the 1940, the greatest and worst of all kid sidekicks was introduced into the comic strips...Robin the Boy Wonder.
Now, down to business. This film is something of a mixed bag, but does contain all the ingredients that make for an enjoyable and satisfying Tarzan film. It does suffer in the following respects:
1. A little too much of Boy laughing...probably this was due to the popularity of cute child actors in the 1930's, such as Shirely Temple, Our Gang, etc. But to a modern viewer, the laughing comes off as a somewhat cloying.
2. A bit too much of Boy getting himself into peril, requiring Tarzan's rescue. These vignettes do serve a plot purpose, in that they provide a rationalization for Jane's behavior, and also a key the resolution of the plot. But there are one or two too many, and so they start to seem tiresome.
3. Too much of the plot is recycled from 'Tarzan Escapes.' I guess this is somewhat excusable since TE was released in 1936, and this film in 1939...audiences in this pre-home video era had plenty of time to forget some of the previous film.
And a brief note about racism: as is typical with films of this era, depictions of Africans are racist, showing them as savage, violent and sadistic. If it is tempting for a modern American to feel superior to the creators of this film, I advise watching some Fox News or CNN and taking note of how Muslims are depicted in a supposedly non-fictional medium.
Now for the good: There is plenty of good Tarzanic stage business, vine swinging, running, wild beasts, etc. I found the underwater swimming scenes, shot at Silver Springs, in central Florida, to be particularly good...I used to live in that region and snorkeled in similar waters. And for a 7 year old, Johnny Sheffield's underwater swimming is amazing. Weissmuller and O'Sullivan are, as usual, absolutely terrific, and having the added element of a child to parent together, and all the accompanying parental emotions, raises their performances to a new level. The love of a parent for the child is the emotional heart of this movie...and the scene where Jane leaves Tarzan alone with the baby for the first time is priceless, and unique in the series.
If one is inclined to like the Weissmuller Tarzans, and there are many reasons to be so inclined, and one keeps one's expectations in line, this film is both enjoyable and satisfying.
As the administrator of the Facebook UNCLE page, and having seen all of
S1 and S2 of Man From UNCLE via DVD, I consider myself a fan of the
series. But even as a fan, I cannot say this is a good film in any way.
Too bad, a number of good actors such as Herbert Lom, Joan Crawford,
Kim Darby, Telly Savalas and the smoking hot Jill Ireland appear in
this film, a spliced-together 2 part MFU adventure.
Also a shame, seeing as there is a fun opening sequence with a squadron of Wallis WA-116 type autogyros that attack Our Heroes as they drive the Pirhanna UNCLE car...as an autogyro aficionado, this sequence was released two months before the 007 'Little Nellie' autogyro sequence in 'You Only Live Twice.' There should be more autogyros in cinema, but they still don't save this picture.
It's mostly a bunch of short, uninteresting vignettes, and very silly fight scenes featuring a bunch of goons in matching outfits, similar to the goons you'd see on the Batman show, working for Penguin or the Riddler.
The most silly fight takes place in a night club, where the mostly forgotten bubble-gum band 'Every Mother's Son' performs...apparently MGM owned this group and used this film for cross-promotional purposes. Which pretty much sums up this film...just cashing in before the gravy train dried up. Vaughn and McCallum, who usually had a good chemistry together and had high individual appeal, seem to be phoning in their appearances...it might have been my imagination, but I swear it looked as if they were each wondering if their respective agents had been getting calls lately, or whether he should invest in a restaurant.
If you are not familiar with the MFU series, you should know that Seasons 1 & 2 of that show were generally good (and a few excellent) but from Season 3 onward there were serious problems. This movie is from two Season 3 episodes, and Season 3 was the nadir of this series.
The good episodes of MFU have cleverness, fun and some kind of a point to them....but this doesn't, and worse, it's a double-length waste of time, as opposed to just one misfire of an episode.
I DVR'd this last time it was on the TCM cable network, it having been a while since I'd seen an MFU episode. Frankly, I would have been better off going the library or video rental store and watching another episode.
This film is only of interest for die-hard UNCLE fans, or for college students drinking cheap beer to watch on a Saturday afternoon so they can jeer at it. If you've never seen MFU, this is not a good introduction to the series. This is sad, seeing as MFU is almost never shown even on cable TV.
It was a tremendous boon to TV and tabloids when celebrity Woody Allen
was revealed to be having sex with his adult adopted daughter. Because
it was a case of perversion and child-molestation, except that Allen
apparently waited until the girl was over age 18 to make his move. And
because the victim was legally an adult, media were under no obligation
to protect the privacy of the victim. The whole sick spectacle could be
There is a curious fascination to this film, it appears to be completely saturated with unintentional comedy. The guy who plays Woody Allen absolutely nailed the part, and he is made up so realistically, it creates the perfect illusion of what Woody Allen would say and do in his private life, if his lines were written by 17 year old. The actress who played aging screen goddess Maureen O'Sullivan is also a singular performance of sophomoric material. All in all, this telefilm is an excellently staged and acted rendition of a surreal imagining of a disgusting, real-life tragedy.
Now of course, things are better: we have reality TV, so we can watch this kind of twisted garbage unfold in real time.
This was the first Weissmuller Tarzan film I ever saw, back in the
1970's in the days of UHF TV, and while I enjoyed it then, I enjoy it
more now, being able to see a less-redacted version via DVD. As an
adult, I appreciate the clever and at times powerful script by Cyril
Hume (who wrote 'Forbidden Planet,' the most perfect scifi film of all
time) and I also appreciate the often artful camera work...the fleeting
view of Tarzan as he first approaches the safari's camp, as well as the
swimming scenes stand out in particular.
As every other IMDb review points out, a few very grisly scenes were cut before theatrical release, and so there are a couple abrupt jumps in the story. Also, there is some usage of fast motion (to simulate more aggressive fighting), stock footage, and some of the comedy relief is also clumsy. And of course, the depiction of Africans is racist. These are the flaws in this picture, and are typical of the era. I forgive them since the overall experience of this picture is enjoyable and interesting.
This is likely the most violent of the MGM Tarzan films, and certainly depicts Our Hero dispatching justice in a very cold, yet understandable, fashion. At the same time, this film has some of the most emotional and heart-rending moments of the series, and there is something vaguely messianic in the way Tarzan, believing himself betrayed by one he loves, willingly enters the cage, later to descend physically down a violently rocky slope into unconsciousness, only to re-emerge into the world commanding an army of avenging elephants.
Weissmuller has all the moves down here, and utters mono-syllabic sentences with the strength of a conqueror or the vulnerability of three year old child, depending upon the needs of the script. There is a moment of genius when Tarzan says 'Secret?' to Jane...it's as if he is simultaneously asking for the definition of the word and asking Jane why in heaven's name she is keeping a secret from him. While hWeissmuller was never an Olivier, Olivier never could have played Tarzan, so there you go.
Besides fun and adventure, this film contains several extended commentaries on human behavior, on relationships, and on moral values. O'Sullivan gives her usual magnificent performance and there is suitable Tarzanic stage business throughout. Lovers of old adventure and fantasy films, as well as lovers of the Tarzan series, are likely to enjoy and appreciate this film.
*** This review may contain spoilers ***
This film was released in April, 1945, very close to the end of WW2,
and likely reflects some of the sub-rosa anxieties of this period.
Specifically, some of the allied service-men had already been
mustered-out (due to wounds, etc.) and some had been rotated back the
USA at the time of this film's production. So it was that many men,
raised in a highly machismo and patriarchal society, found themselves
contending with wives and girlfriends who had been empowered by wartime
factory work, and children who had suddenly become rebellious
And so it is that we find Tarzan contending with a secret society of matriarchal Amazons, fiercer and sexier than Rosie the Riveter, and with a rebellious adolescent son.
It is also fitting that this film marks the return of Jane to the Tarzan series. Intelligent Tarzan scholars can disagree as to who is the greatest Tarzan in cinema, but there is universal acknowledgment that Maureen O'Sullivan was the greatest Jane. Despite this, Brenda Joyce was an amiable replacement, wholesome-sexy and not obnoxious, and she fit with the peculiar chemistry of the Tarzan films, and so we like her.
The last 4 Weismuller Tarzan films feature titles that name female characters. Besides this one, there was 'Tarzan and the Leopard Woman,' 'Tarzan and the Huntress,' and 'Tarzan and the Mermaids.' Likely the producers were attempting to lure more heterosexual men and other lovers of female beauty into the theaters, to broaden the ape-man's appeal beyond the 12-year-old demographic.
This film is a little short on action, although we do get to see Our Hero fight a crocodile and we see an adequate degree of peril and hazard. To it's credit, the script calls for Tarzan to express several philosophical concepts, using his own unique modality of thought, which author Jose Phillip Farmer describes as being 'Tarzanic.' In one instance, Tarzan issues forth what amounts to a haiku, likening the dazzling effect of gold on human greed to way the sun blinds those who stare directly at it. In another instance, Tarzan issues this pithy gem: 'Every time men bring guns, men bring trouble.' There is a quality of mythology to this film which compensates for the reduced action, and this is something of an initiation rite for Boy.
Also, the Amazons are sexy.
A lot of people bag on the RKO Tarzans because they are smaller budget than the MGM's, and because Weismuller has a bigger gut, but such concerns are trivial. This film contains Weismuller, who still had the confidence, charisma, and conviction to be a convincing Tarzan, and whose portrayal of the ape-man was the most distinctive of all actors. I recommend this film for all fans of vintage B-movies and fans of Weismuller.
*** This review may contain spoilers ***
A lot of fans like to bag on the RKO Tarzan films because they lack the
production values of the 6 MGM Weismuller Tarzans (which they do), but
a recent channel surfing session gives me an alternative perspective.
Specifically, not long ago while eating a sandwich on my couch I found
myself watching a section of the first Johnny Weismuller 'Jungle Jim'
feature (1948). Seeing Our Hero slogging through Southern California
and Stock Footage Africa in a Columbia ultra-cheapie, phoning in his
performance and fighting what appeared to be a paper-mache crocodile
made by a third-grader, has given me the ability to appreciate the
RKO-Tarzans for what they are...solid B-Movie/Saturday Matinnee
escapist adventure films.
Many intelligent Tarzan scholars disagree on who the greatest film Tarzan was, but none can disagree regarding the cultural impact of Weismuller and no movie Tarzan has ever had a fraction of Weismuller's staying power. Weismuller isn't for everyone, but then again, not everyone likes Elvis. This is the first Weismuller Tarzan film I have seen in about 25 years, and I have to say that after all these years I really enjoyed Weismuller's charisma, confidence and conviction. Weismuller wasn't a good actor per se, but darned if he didn't nail the Tarzan part.
Obviously, Weismuller was beginning to have a gut in these later films, but he was still strong and he still carried himself with the pride of an Olympic athlete. If you are a man over age 40, take a good hard look at your own gut some time.
RKO apparently didn't have the rights to use the patented bone-chilling hybrid Weismuller/MGMfx Tarzan yell, but as a consolation prize, we get to hear a 100% Weismuller Tarzan yell. The 100% natural yell isn't quite as impressive as the MGM version, but knowing it was 100% Weismuller adds to the enjoyment and novelty.
This film has a good plot involving a basically good-natured lady played by the smoking-hot Patricia Morison (clearly upstaging wholesome-sexy Brenda Joyce) who is hunting for zoo animals. Tarzan is ahead of his time in this film, as he opposes taking animals from their native habitat, just as he opposes killing them for anything other than self-defense or sustenance. (In the real world in 1947, keeping animals captive in zoos was universally considered to be humane and ethical.)
Cheeta is referred to as a 'she' in this film and has a fetish for putting on make-up. IIRC, in some films Cheeta was a 'he.' Who knows, maybe Cheeta was also ahead of his/her time regarding the idea that one can choose one's own gender identity.
Tarzan has one decent hand-to-hand combat fight scene, and while I would have appreciated a little more, the film is filled with appropriate Tarzanic stage business, such as Tarzan stealing all the hunters' firearms while they sleep, and shooting a goose with his bow and arrow. The concluding sequence, where Tarzan initiates an elephant stampede, causing mass carnage and death among the hunters, is well-done and highly satisfying, despite the usage of some stock footage.
This film is a fine use of your time if you are a fan of vintage B-features, or a fan of the Weismuller Tarzan. Not his best, but definitely enjoyable and satisfying, with a script and direction much better than your average B-pic.
The likelihood that our future is some kind of apocalyptic hellscape,
while being somewhat depressing, was a huge boon for makers of low
budget scifi films. In the post apocalyptic future of Ib Melchior's
'Time Travelers,' most of the action takes place indoors, where the
human survivors of the apocalypse must stay so as to avoid the
requisite race of post-atomic savage mutants. Shooting outdoors on
location is expensive...shooting on small, spartan sets on sound stages
is much cheaper.
The other great thing about the human race having to live indoors is that women have to take off their clothes and go into a room together to bathe in the rays of a sun lamp, with a few carefully positioned props covering up their naughty bits so that the scene is cheesecake, rather than being soft-core porn. In my lifelong study of low budget scifi films, this is the only film I have seen where this aspect of our future post-apocalyptic life was explored.
Scifi fans or film buffs looking for any kind of serious artistic or dramatic content should look elsewhere. This movie was obviously aimed at kids and adolescents, and the value of it now is just pure goofy fun.
Comic actor Steve Franken, while not the leading man, is a highlight in this quirky opus, playing an electrician wearing coveralls named Danny McKee. Danny McKee has the habit of saying 'Holy McKee!' to express surprise or amazement. I have never in my life ever met a real person who used his own last name in this fashion...imagine if, say, Matthew McConaughey said 'Holy McConaughey!' whenever he was surprised or amazed. But for some reason, Danny McKee likes to say 'Holy McKee!'
There is an improbable sub-plot of one of the beautiful future women, one of the gals in the semi-nude 'sunbathing' scene, falling in love with goofy Danny McKee. If they had married, would she also say 'Holy McKee'? If they were married by a clergy person, would they be united in Holy McKeetrimony?
Another highlight of this film is that many of the special effects are simply bits of stage magic, perhaps adapted slightly to fit the setting. There is a scene, for example, where a head is removed from an operational android...this is done in the exact manner as a popular magic trick where a head is 'removed' from a living stage assistant. There are other stage magic tricks scattered throughout this film, such as the depiction of a high tech future assembly line and other business with the androids. I don't know if director Melchior was also a stage magician, or whether his FX person was, but the magic tricks provide unintentional humor and add to the goofy charm.
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