A young couple die in a plane crash in the jungle. Their son is found by Tarzan and Jane who name him Boy and raise him as their own. Five years later a search party comes to find the young heir to millions of dollars. Jane agrees, against Tarzan's will, to lead them to civilization.Written by
Ed Stephan <firstname.lastname@example.org>
Tarzan had to "find" a son, because censors would not allow Jane to become pregnant because she and Tarzan were not legally married. See more »
At the climax when Boy is being chased by a lion, sudden position changes in the leaves in the background bushes show the progress of the traveling split screen from right to left, used so that both could be in frame without any danger. See more »
Originally released as Tarzan in Exile (1939), the film originally ended with the death of Jane. Protests by fans and Edgar Rice Burroughs forced the studio to reshoot much of the film so Jane survives. See more »
My second Tarzan double-feature slot and the cracks are beginning to show! That said, TARZAN ESCAPES (1936; ***) is much better than online reviews would have you believe: true, there is ample stock footage on display here but it also boasts a strong plot line and cast (featuring Benita Hume, future wife of Ronald Colman and later George Sanders, as well as MGM staple Herbert Mundin and James Whale favorite E.E. Clive, not to mention the villainous John Buckler who comes to a particularly sticky end in this one) to even things out. By now, Weissmuller and O' Sullivan have grown considerably in their respective parts but the influence of the Hays' Office (established while the film was in production, resulting in extensive re-shoots before it could be classified for exhibition!) is also very much in evidence: Tarzan and Jane's behavior (to say nothing of the latter's 'wardrobe') is rather chaste this time around, and even the violence is there mainly by virtue of recycled scenes from the two previous entries in the series!!
TARZAN FINDS A SON! (1939; **1/2), though certainly briskly-paced and fairly enjoyable in itself, is where things really start to degenerate and a sense of deja'-vu hangs over the proceedings like a cloud; not that this factor is an isolated case in franchises of this period consider, for instance, the noticeable leap in quality from the ornate SON OF FRANKENSTEIN (1939) to a strictly programmer-level THE GHOST OF FRANKENSTEIN (1942) To make matters worse (though, I guess, this can be pinned down to personal opinion), we have here the addition of another jungle 'initiate' in the figure of Boy who emulates Tarzan in his every move, down to that grating yodel! Besides, his getting into endless predictable scrapes throughout, forcing Tarzan's nick-of-time intervention and queuing in further stock footage from the earlier films (now looking pretty rough-hewn alongside the lavish budgets MGM could afford by the end of the decade!), does the picture no favors at all in the story department!! Logic, too, is casually thrown out the window: the film opens with a plane crash-landing (i.e. before reaching its intended destination), yet when a search party is set in motion (5 years after the fact, conveniently allowing Boy to grow up and become attached to the Tarzans!), its members (invariably harboring an agenda of their own) go directly to the supposedly forbidden/secret part of the jungle where the Lord Of The Apes has set up residence sheesh!! Once again, the familiar cast-list adds to the fun, though it has to be said that Ian Hunter (usually playing the reliable type) makes for an unconvincing villain in this one.
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