Retro Review: TARZAN AND THE VALLEY OF GOLD (1966)

TARZAN AND THE VALLEY OF GOLD

(US - 1966)

Directed by Robert Day. Written by Clair Huffaker. Cast: Mike Henry, David Opatoshu, Manuel Padilla Jr, Nancy Kovack, Don Megowan, Enrique Lucero, Edwardo Noriega, Carlos Rivas. (Unrated, 90 mins)

TARZAN AND THE VALLEY OF GOLD was the first of three films in former NFL linebacker Mike Henry's little-loved tenure as the iconic character. Henry stepped into the role after Jock Mahoney's ill-fated two-film stint in TARZAN GOES TO INDIA (1962) and TARZAN'S THREE CHALLENGES (1963). While on location in Thailand shooting the lavish THREE CHALLENGES, Mahoney came down with malaria, dysentery, dengue fever, and pneumonia. He became so deathly ill that his 50 lb weight loss and haggard, sickly appearance in some sections of the movie contrasted too sharply with his muscular, healthy look in scenes that were shot early in the production, making his illness a glaring distraction to moviegoers. A remarkably tough Mahoney (a veteran Hollywood stuntman-turned-actor and stepfather of Sally Field at the time he was playing Tarzan) somehow managed to finish the film but it took him nearly two years to fully recover and he gave no consideration to returning to the role. Henry became the new Tarzan after just-retired New York Giants RB Frank Gifford turned it down, opting to go into broadcasting instead of acting. Henry, himself a recent NFL retiree after seven-year career with the Pittsburgh Steelers and the Los Angeles Rams, made for a dull Tarzan, though his physique is arguably the most impressive of any actor to portray the Lord of the Apes, certainly better than those late 1940s entries when an over-40 Johnny Weissmuller was visibly holding in his gut. Henry, a longtime buddy of Burt Reynolds, would fare better in a supporting role in THE LONGEST YARD and as Jackie Gleason's dim-witted son in the SMOKEY AND THE BANDIT movies, but VALLEY OF GOLD, helmed by TARZAN'S THREE CHALLENGES director Robert Day, is generally regarded as the best of his three Tarzan outings, shot back-to-back in 1965 but released from 1966 to 1968. Obviously inspired by the global James Bond phenomenon, this series reboot--which could just as easily be titled TARZAN 007--takes a while to get the hero in his customary loincloth after he's introduced arriving in contemporary Mexico City by helicopter, sporting a suit and carrying a briefcase before he's ambushed in a shootout at the Plaza de Toros bullfighting arena (this is a mostly cheap-looking film, but all the money was spent on some impressive location shooting in Mexico City and Acapulco; the climax takes place at the famed Teotihuacan ruins) where he offs his assailant by rolling a giant promotional Coke bottle over him. The main plot involves megalomaniacal Bond-esque villain Vinero (David Opatoshu)--with the mandatory hulking, Oddjob-style henchman in the form of Mr. Train (Don Megowan)--hunting down young Ramel (Manuel Padilla, Jr), a local village boy who knows the location of the mythical Valley of Gold, home to untold riches and treasure.

Closer in spirit to 007 than Tarzan (starting with the jazzy score and the DR. NO-looking opening credits), VALLEY OF GOLD also has Vinero offing his nemeses with gimmicky bombs hidden inside small articles of jewelry, like exploding rings and necklaces. It's all pretty silly (Tarzan even commandeers a tank at one point), and other than the location work, it looks really chintzy, especially with some badly integrated stock footage of wildlife used for reaction shots to the constant antics of Tarzan's sidekick Dinky the Chimp, apparently filling in for a vacationing Cheeta (starting with 1959's TARZAN'S GREATEST ADVENTURE, the Jane character was dropped from the franchise). Henry reportedly hated playing Tarzan--a sentiment probably not helped when a returning Dinky bit him on the chin while shooting the next film, 1967's TARZAN AND THE GREAT RIVER, leading to surgery on Henry's face and the rambunctious Dinky being euthanized and a new chimp brought in--and by the time VALLEY OF GOLD hit screens in 1966, he had three TARZANs in the can (TARZAN AND THE JUNGLE BOY finally hit theaters in 1968, three years after it was shot) and walked away, bailing on a TARZAN television series he'd committed to earlier. Ron Ely ended up starring in TARZAN, which aired on NBC from 1966 to 1968, with several episodes edited into a couple of new quickie cash-grab movies. Henry would be the last big-screen Tarzan until Miles O'Keeffe was cast in 1981's TARZAN THE APE MAN.

In Theaters: THE LEGEND OF TARZAN (2016)

THE LEGEND OF TARZAN
(US - 2016)

Directed by David Yates. Written by Adam Cozad and Craig Brewer. Cast: Alexander Skarsgard, Samuel L. Jackson, Christoph Waltz, Margot Robbie, Djimon Hounsou, Jim Broadbent, Ben Chaplin, Casper Crump, Simon Russell Beale, Matt Cross, Madeleine Worrall. (PG-13, 109 mins)

The latest big-screen incarnation of the legendary Edgar Rice Burroughs character has all of the expected 2016 blockbuster summer tentpole bells-and-whistles--3-D, extensive CGI, motion-capture performances for the apes, post-300 quick cut/slo-mo speed-ramping--but makes a concerted effort to remain faithful to the Tarzan of old whenever possible. The best decision made by screenwriters Adam Cozad and Craig Brewer and latter-franchise HARRY POTTER director David Yates is to consciously avoid making this yet another origin story. THE LEGEND OF TARZAN takes place in 1890, years after Tarzan and Jane have left the jungle to return to their aristocratic life in London as Mr. and Mrs. John Clayton III. Tarzan's backstory--his parents killed after a shipwreck when he was a baby, his being raised by apes in the deep jungles of the Congo, his meeting American Jane and returning to society--is doled out in periodic flashbacks that take up only the necessary screen time. The film expects the audience to have a working knowledge of Tarzan, which is a pretty bold move considering how major studio marketing usually works and for whom the movie is targeted. It's been 18 years since the last big-screen TARZAN movie--the 1998 bomb TARZAN AND THE LOST CITY, with Casper Van Dien--and over 30 since the 1984 prestige epic GREYSTOKE: THE LEGEND OF TARZAN, LORD OF THE APES with Christopher Lambert and 1981's abominable TARZAN THE APE MAN with Bo Derek and Miles O'Keeffe. Tarzan hasn't been a regular pop culture fixture since the late 1960s. As was the case with last year's pleasantly-surprising THE MAN FROM U.N.C.L.E., I guarantee there are moviegoers today who have no idea who or what Tarzan is.

In this incarnation, Clayton, Lord Greystoke (Alexander Skarsgard) resents being called "Tarzan," even though he's become a popular figure in 1890 London, with his "Ape Man" character the subject of numerous newspaper articles and pulp stories, and "Me Tarzan, you Jane" a fictional catchphrase. He enjoys indulging children who are fascinated by his legend but feels out of place in the aristocracy, having no inclination to journey back to the wild, unlike Jane (Margot Robbie), who dislikes formality and longs for excitement and adventure. Nevertheless--there'd be no movie otherwise--that's exactly where they find themselves headed after the Prime Minister (Jim Broadbent) encourages Clayton to visit the African Congo to investigate stories of tribes being enslaved by evildoers in the employ of the never-seen King Leopold of Belgium. Leopold has acquired part of the Congo and is claiming bankruptcy even though the area is rich in diamonds and minerals. Dr. George Washington Williams (Samuel L. Jackson, cashing a paycheck), a visiting American envoy at the behest of President Benjamin Harrison and a veteran of the Civil War, takes a special interest in the slavery aspect of the allegations against Belgium and tags along, much to Tarzan's initial disapproval. The Prime Minister has suggested Tarzan go on his diplomatic mission after receiving an invitation from Leon Rom (Christoph Waltz), a vintage mustache-twirling villain secretly working for King Leopold. Rom needs access to the diamond mines of Opar, which is overseen by tribal lord Chief Mbonga (Djimon Hounsou). Mbonga agrees to allow Rom access to the mines' riches if he hands over Tarzan, who was forced to kill Mbonga's son years earlier.

A lot of plot has to get set in motion before the action really fires up, and for the most part, it's rousing and fun, an enjoyable mix of GREYSTOKE costume epic and old-school jungle adventure. Of course, the weakest element is the dubious CGI work, which is a blurry, incoherent mess when Tarzan is swinging through the trees. Elsewhere, Yates cribs a little too liberally from past blockbusters in a way that often crosses the line from homage to ripoff, whether it's the tiresome speed-ramping or the "circling aerial shot of a band of heroes walking single file along the top of the mountain," which was played out the 247th time Peter Jackson did it in the LORD OF THE RINGS trilogy. Tarzan and Williams being chased by a stampeding flock of ostriches looks a little too much like the gallimimus scene in JURASSIC PARK, and a shot of a gorilla roaring in Williams' face has he turns away in fright is straight out of ALIEN 3. Robbie's Jane is far too present-day snarky at times (you're almost expecting her to vocal-fry "hashtag whatever" at Tarzan), and a throwaway line implying Rom was molested by his priest as a boy has no place in a TARZAN movie, nor does Williams quipping "Do you want me to lick his nuts, too?" when Tarzan tells him to bow before an ape leader. So yeah, there are some big flaws here, but it gets more right than wrong, starting with not overstaying its welcome, clocking in at a perfectly reasonable 109 minutes. Skarsgard is a fine Tarzan, a stoical man of few words and he certainly looks the part, even if his Tarzan yell sounds suspiciously like a guttural death metal remix of Johnny Weissmuller's iconic call. Waltz was obviously hired to be Christoph Waltz, and he relishes every moment of it. He's given a lot more to do here than in his squandered turn as Blofeld in the disappointing SPECTRE, and his performance, coupled with his suit and hat and his steamboat journey upriver, combine to make a nice winking nod to Klaus Kinski in FITZCARRALDO. THE LEGEND OF TARZAN is mindless, harmless summer fun (despite the insistence of many critics and bloggers who specialize in professional outrage, tirelessly trying to find things to be offended by), but it isn't giving the Weissmuller or Gordon Scott classics any cause for concern over their place in the TARZAN canon.