Allan Quatermain once again teams up with Jesse Huston where the discovery of a mysterious old gold piece sends Quatermain looking for his long-lost brother, missing in the wilds of Africa after seeking a lost white race.
Fortune hunter Allan Quatermain teams up with a resourceful woman to help her find her missing father lost in the wilds of 1900s Africa while being pursued by hostile tribes and a rival German explorer.
J. Lee Thompson
Chris, slick adventurous grandson of legendary adventurer Allan Quatermain, searches for the mythical treasure of Alexander the Great with the help of a pretty German girl, while eluding a dangerous greedy gangster.
Thomas Ian Griffith,
Drawn out of retirement by the murder of an old friend, Allan Quatermain and his family, aided by an unlikely ally, must travel into the jungles of Central Africa to a legendary lost city ... See full summary »
After his brother Robeson disappears without a trace while exploring Africa in search of a legendary 'white tribe', Alan Quatermain decides to follow in his footsteps to learn what became of him. Soon after arriving, he discovers the los City of Gold, controlled by the evil lord Agon, and mined by his legions of white slaves. Is this where Robeson met his end?Written by
Jean-Marc Rocher <firstname.lastname@example.org>
As the Eshowe Warrior Chief spears Swarma, while he is passed out on the ground, the 'metal' tip of the spear bends as it hits him in the chest and then straightens out again as it falls to the side of his body. See more »
[referring to his brother, who disappeared searching for The Lost City of Gold]
He was always ready to go off at the drop of a legend.
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I rate this film as about average for the genre at the time of production, although its major failures are from its adherence to the premise of the 1950 Stewart Granger version of King Solomon's Mines. King Solomon's Mines is a 20th Century modernization of the H. Rider Haggard novels set in the 19th Century. As a VERY LOW BUDGET African project, the two movies maintain the consistency of an imaginary Africa that may have seemed reasonable to a 19th Century English audience.
I especially enjoyed some of the quips that reference a not so hidden casting of Hollywood camp in serious roles. Elvira is cast as Sorais, and Richard Chamberlain as Allan Quatermain declares on meeting her, "I've seen some amazing things in my life, but never anything to compare with this!" The films are full of the cliché scenes that filled Tarzan and earlier jungle films, clichés that have since become attached to the Indiana Jones films by those unfamiliar with the earlier genre. Some of the earlier jungle films were produced under extraordinary duress, and attempts here to produce tongue in cheek replicas of the earlier works can certainly be missed by those whose only familiarity with film is through the post 70s media.
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