Tarzan and the Great River

Proof that the "Tarzan" character works best in an African setting, circa 1890s to 1930s, can be found in this mildly enjoyable but undeniably juvenile movie. It tries to "update" and "re-imagine" Tarzan by sending him on a jetliner to Brazil where he arrives wearing a suit and tie. This immediately raises questions. Where does he buy his suits? How does he pay for them? Does he have on a loincloth underneath or does he prefer Jockey-brand briefs?

Tarzan soon dons his customary garb and goes off on an adventure where he's involved in the usual vine-swinging, lion-wrestling, blonde-rescuing, villain-bashing, and giving out that Tarzan yell. Much of this action is padded out with wildlife footage which carelessly confuses African with South American zoology.

What limits this "Tarzan" is not the character's built-in incongruity but rather the kiddie-matinee nonsense which reverses past efforts to make this series more appealing to adults. Thus we have the cloyingly-cute kid, the chimp shenanigans, the corny dialog, the stereotyped cast members, etc.

On the plus side is tall, dark, handsome Mike Henry -- perhaps the only Tarzan with hair on his pecs. Though visually he's almost ideal, with a body by Michelangelo, he has a flat personality and only a minimum of acting ability, but these faults tend to fade away whenever he swings into action.