Tarzan’s New York Adventure

(The following is part of the Adventure-a-Thon hosted by the friendly folks at Cinematic Catharsis and Realweegiemidget Reviews)

 

Tarzan’s New York Adventure (1942) is a movie of milestones: the final MGM Tarzan film before the franchise moved to RKO and Maureen O’Sullivan’s last appearance as Jane. It has a lot more going for it as well.

When a plane lands in the escarpment that Tarzan (Johnny Weissmuller), Jane (O’Sullivan), Boy (Johnny Sheffield) and Cheeta call home, Tarzan finds a hunter (Charles Bickford, three-time Best Supporting Actor nominee) trapping animals for a circus in the U.S. Tarzan, naturally, has a problem with this and gives him until the next morning to leave.

But Boy is fascinated with this visit from the outside world and despite Tarzan’s warnings, goes out to the plane. Bickford sees Boy as the ultimate circus attraction and under the distraction of an attack from local natives who trap Tarzan and Jane in a brushfire, kidnaps him, the plane miraculously taking off out of the jungle without benefit of a runway.

Desperate to find Boy, Tarzan and Jane trek across Africa to the nearest city where they learn that the plane’s destination is New York City. Paying in gold nuggets, they trade their loincloths for tailored clothes and leave for America, Weissmuller’s shoulders even more impressive in a double-breasted suit.

The “stone jungle” they encounter is the 1940s Hollywood vision of Manhattan: swanky nightclubs, people employed in jobs that barely exist today, like taxi drivers, or not at all: bellhops, cigarette girls, hat-check attendants. All that’s missing is a reference to the Brooklyn Dodgers. Jane takes charge and helps Tarzan navigate through modern conveniences like radios, mirrors, telephones and, memorably, walk-in showers.

The other fish out of water is Cheeta, who adapts to city life easily and gets plenty of screentime, including a “soliloquy” running amuck in a hotel room. Based on her performance, I would have supported the superstar chimp’s nomination for Best Supporting Actress.

Tarzan and Jane’s attempt to get Boy back through the legal system hits a roadblock when Jane admits under oath that she and Tarzan are not his true parents. Tarzan, chafing from that suit and from listening to lawyers, chooses jungle justice over a Kramer vs. Kramer custody battle.

Tarzan breaks free from the courthouse, and leads the police on a one-sided, if exciting, rooftop chase, a daring climb up the cables of the Brooklyn Bridge and a death-defying 200-foot plunge into the East River.

(Some online swear Weissmuller really took that leap – pure suicide in reality – when it was all done with rear projection, editing and a dummy tossed into an MGM water tank. The bigger question is how did Tarzan figure out he was swimming toward Long Island, where Boy was being held, and didn’t wind up in Jersey City?)

A group of circus roustabouts (including Elmo Lincoln, who played Tarzan in three silent films) overtake Tarzan and lock him in a lion cage. But with the help of a herd of circus elephants, wise in the universal animal language spoken by Tarzan, he defeats the bad guys and gets Boy back.

Placing Tarzan outside of his world provides context for him to explain the unspoken philosophy of the jungle: “Jungle laws easy. In jungle, man only kill bad animals. In civilization, men kill good men,” a message that may have resonated with audiences in May 1942 when the movie was released, America having entered World War II just a few months before.

Tarzan movies will always be subject to modern-day criticisms about racial and gender stereotypes, but at the same time, viewing this film made more than 80 years ago reveals a progressive tale about the power within non-traditional families, bound not by blood, but by love and commitment to each other.

As with the movie, Cheeta gets the last word

Tarzan’s New York Adventure is a bite of the Big Apple that leaves a sweet taste.

Kick Dondi in the Teeth Day

Today, as decreed by MAD magazine 60 years ago, is Kick Dondi in the Teeth Day.

Not sure what MAD had against wholesome, doe-eyed Dondi, and it’s certainly a violent image, but it was funny when I first came across it in MAD’s 1965 calendar, and it still is today.

During its first ten or so years, much of MAD’s parodies focused on newspaper comic strips, which for decades could have been considered the cable TV/streaming series of their time: long-term character continuity, serialized, with millions of viewers.

Our family got the New York Daily News with its Sunday comic section, and most of the strips were already feeling creaky by the mid-sixties: Little Orphan Annie (which began in 1924), Gasoline Alley (1918) and Terry and the Pirates (1934). Dondi (1955) was the newcomer.

I usually stuck to the mild humor of gag cartoons like Our Boarding House (1924), Bringing Up Father (1913), Smokey Stover (1935) and They’ll Do It Every Time (1929); reading them was like a glimpse into the past, the same feel as watching the occasional Model T driving down the main street of my hometown.

Originally, Dondi was a World War II orphan who wandered into the care of U.S soldiers and was brought to the U.S. The strip debuted on September 25, 1955.

David Kory

As he became more Americanized, Dondi’s European roots fell by the wayside. An awful Dondi movie (1961) was a high point for six-year-old non-actor David Kory and a low career ebb for stars David Janssen and Patti Page.

Dondi the newspaper comic strip's popularity waned. By the time the strip ended in 1986 it was only appearing in 35 newspapers (vs. some 200 at its height). Now that was a real kick in the teeth.

Naked girl at Stones party

Marianne Faithfull seemingly moved through the fair that was the Swinging Sixties effortlessly, but the footing was treacherous.

Her father was an academic; her mother came from Polish nobility. A great-great-uncle was Leopold von Sacher-Masoch, from whom the word “masochist” is derived and author of Venus in Furs, the underground novel about sadomasochism that inspired the Velvet Underground song.

Faithfull was a 17-year-old folksinger adrift in a male-dominated world of rock musicians. She was a musical muse to Bob Dylan – she turned down his advances, leading him to write It’s All Over Now, Baby Blue in response – and a smitten Graham Nash, who wrote Carrie-Ann about her.

(Adding Wild Horses, Mick Jagger’s ode to their relationship, and she overtakes Patti Boyd, for whom George Harrison wrote Something and Eric Clapton wrote Layla).

Faithfull wandered into the tarpit that was the Rolling Stones inner circle, having brief affairs with Keith Richards and Brian Jones, then getting pregnant by U.S. pop singer Gene Pitney who had played piano during a Stones recording session, before connecting with Jagger.

Faithfull the folk singer

She recorded one of the first songs Jagger and Richards cowrote, As Tears Go By, which peaked at #22 in January 1965 in the U.S. (Teenage girls – the true force behind the British Invasion – may have sensed that Faithfull was rival than role model. When the Stones recorded the song, it went to #6. And somehow to #10 on the adult easy listening charts).

A couple of other Top 40 singles, Summer Night and Come and Stay with Me, were pleasant but did little to bolster Faithfull’s reputation as more than just the girl on Jagger’s arm.

In early 1967, the couple and others, including George and Patti Harrison, attended a weekend retreat at Keith Richards’ country estate. Following a tip, a squad of 18 police officers raided the house with Jagger and Richards arrested for drug offenses based on the discovery of a few roaches and amphetamine pills (which likely belonged to Faithfull, but that Jagger claimed as his own to save her from arrest).

Two legends grew out of the party’s aftermath: that the police hid in the bushes until the Harrisons left, thereby not arresting a Beatle, and that the police interrupted Jagger while he was eating a Mars Bar out of Faithfull’s vagina – a rumor the police floated to the British tabloids out to sink those degenerate Stones. (It was always the specificity of the candy brand that made this sound more like the fulfillment of someone’s sexual fantasy than reality).

What is true is that Faithfull had just taken a bath when the cops busted in and covered herself with a nearby rug, hence the headline in the next day’s Evening Standard, NAKED GIRL AT STONES PARTY.

Marianne and Mick went from being photographed in airport terminals and entering clubs, to getting their pictures taken in front of a courthouse. They broke up shortly afterwards.

Faithfull sightings were rare through most of the seventies. She developed a serious drug habit, and was at times homeless, living in the streets or squatting in abandoned buildings.

In 1979, her voice weather-beaten, lived in – you get the idea – Faithfull came out of nowhere to record a new wave single Broken English, a critical and dance floor favorite. She’d found her own voice, and a second career as international chanteuse and actress, touring sporadically, but always intertwined with a long litany of health issues, suicide attempts, marriages, divorces, miscarriages and abortions.

She deserved respect for what she accomplished. All of it can be considered a triumph.

Rod Taylor in Darker Than Amber

(This post is part of the Favorite Stars in B Movies Blogathon hosted by Films From Beyond)

Between 1964 and 1985, John MacDonald wrote 21 novels in the Travis McGee series. Not a private detective, but a “salvage consultant” – if he recovered what a client lost, McGee received half its worth, allowing him to live an idyllic life on a houseboat in Florida taking his retirement, as he put it “in installments.”

They were noir fiction elevated by McGee’s asides about modern life – gun control, race relations, preserving Florida’s environment and people who use their brakes too much when driving. McGee was cynical, with a strong moral compass and built like a linebacker. He hung out with Meyer, an erudite economist given to wry observations and philosophizing.

Darker Than Amber (1970) stars Rod Taylor and is the only big-screen adaptation of a McGee book. The Australian-born Taylor began his Hollywood career in 1951 and while he’s mostly remembered today for action roles, he was versatile enough to make his mark in science fiction (The Time Machine), horror (The Birds), romantic comedy (Do Not Disturb), westerns (The Bank Robbers), drama (Hotel) and the uncategorizable (Zabriskie Point).

In Darker Than Amber, McGee and Meyer (Theodore Bikel) are fishing near a bridge when psychopathic weightlifter Terry (William Smith) drops Vangie (Suzy Kendall), tied to a barbell, into the water. McGee rescues her and as she recovers on his boat learns of her participation, working with Terry, to lure lonely guys on cruise ships into an onboard relationship, conning them out of their money then dumping them overboard.

Terry eventually catches up with Vangie and kills her, leading McGee and Meyer to embark on a plan to retrieve cash that Vangie has hidden from Terry and to trap him.

Much of what you’ll find online about Darker Than Amber is centered on the film’s climax, a violent fight between McGee and Terry in the close quarters of a cruise ship cabin, reminiscent of the Sean Connery-Robert Shaw’s train compartment bout in From Russia with Love. Apparently, the fight turned real. “We didn't use any stunt doubles at all. [Taylor] broke three of my ribs and I busted his nose ... I couldn't even breath and he was still hitting me,” said Smith.  

These guys mean it

Smith, here with bleached blonde hair, had a prolific career in television and the movies, establishing cult star status in a number of 1960s biker movies. In Darker Than Amber he’s all bulging biceps and penetrating stare, violence always bubbling just under the surface.

Taylor is solid as ever, shifting between vulnerable and invincible, and the movie chugs along at a good pace. The resolution, built on a sort of Mission: Impossible-type stunt feels, as it did in the novel, a bit contrived.

Upon meeting Taylor, John MacDonald said, “I like the guy. He has a face that looks lived in. But what matters to me is that he understands what McGee is all about – the anti-hero, tender and tough with many chinks in the armor. I trust Rod's wit, irony and understanding to make the whole greater than the parts.”  

MacDonald, however, felt the original script made McGee buffoonish and provided uncredited writing assistance. He didn’t, however, give the film a glowing endorsement. "I was so convinced it would be utterly rotten, that I was pleased to find it only semi-rotten,” he later wrote.

There are several versions of Darker Than Amber floating around. At one point the film was withdrawn and re-edited to remove its R rating. An unedited version, with the fight scene intact, seems to be currently on Tubi, although the print looks and sounds like it got the worst of the Rod Taylor-William Smith battle. Regardless, it’s worth watching.

The Complete Rod Taylor Site was a valuable resource in writing this post. 

Mayberry RFD: New Couple in Town

(This is part of the 11th Annual Favourite TV Show Episode Blogathon hosted by A Shroud of Thoughts)

It’s a big deal when a new couple moves to Mayberry. And word gets around fast.

Howard Sprague (Jack Dodson) learns about it through a friend who works at the gas company. Goober (George Lindsey) gets the word from the milkman (they’ve ordered a daily quart of milk and half-pint of cottage cheese) and the local realtor (it’s a three-month rental).

Turns out Frank and Audrey Wylie (Richard Erdman and Emmaline Henry) have moved to Mayberry from New York City for the artistic inspiration a change of scenery may bring. Frank Wylie is a writer.

Making Mayberry to Frank Wylie what Walden Pond was to Thoreau.

The local literary club is atwitter about having a writer in their midst and Aunt Bee (Frances Bavier) suggests inviting Wylie to join them as a guest speaker, adding “I think we’ll call on him tomorrow, around five o’clock – I understand that’s when writers have cocktails.” Or in Wylie’s case, milk and cottage cheese.

Meet the Wylies

With a real author coming for a talk, the membership committee is bombarded with requests. “We still must remain selective; if we just take in anybody, it’ll threaten the foundation of the club,” sniffs one member. Of course, “anybody” means Goober, whose request is rejected.

“It’s nothing personal, but I don’t think Goober’s ever read anything but a comic book in his whole life,” says Howard. “And when somebody just reads comic books, well, then he just doesn’t belong with us!”

(Hey Howard, maybe if we call them graphic novels, you’d feel different?)

Aunt Bee invites Goober anyway. Her rationale: “Any kind of reading is elevating.”

An endorsement from America’s favorite aunt aside, movies and television usually ghettoized comic book reading to the realm of little kids, reprobates and village idiots. On behalf of all of us who read comic books behind closed bedroom doors throughout our high school years, right on, Aunt Bee.

Simpleton Satch of the Bowery Boys

Unbeknownst to the townsfolk, Frank Wylie is a comic book writer/artist. Here’s what he’s currently working on:

Based on what’s on his drawing board, he sure isn’t working for Marvel or DC. Maybe the cut-rate competition, like Dell. Or worse, MF Enterprises.

But Wylie isn’t pleased with this latest effort and goes out for a drive, winding up at Goober’s gas station.

GOOBER: How’re your stories coming?

WYLIE: Nothing.

GOOBER: I ain’t no writer but I think of a lot of stories while I’m sittin’ around here waitin’ for customers, mostly like the stuff I read in comic books; ever notice how they make the monster out to be a bad guy? Something I thought of, the monster would be a hero.

WYLIE (suddenly bathed in a golden light from heaven): The monster was a hero? The creature who saved a city.

The snobbier literary club members turn up their noses when Goober shows up for Wylie’s address, who says that sometimes new surroundings provide inspiration, praising the contributions of a new collaborator he’s discovered in Mayberry — Goober, who’s receiving a 50/50 cut in the action.

Goober?

Goober and Wylie were clearly ahead of the curve. When this episode of Mayberry RFD ran in January 1969, the only monster-as-hero comic book on the newsstands was The Incredible Hulk. Within the next few years, once the Comics Code lessened its stranglehold on four-color content, the monster/hero floodgates opened for Swamp Thing, The Tomb of Dracula, Man-Thing, Blade, Morbius and Frankenstein, among many others. Television series and movie franchises awaited.

Looking a little deeper, there are other underlying themes, like the dangers of making snap judgements about people and the value of diverse perspectives, but that’s for another day. And with Goober now a member in good standing of the Mayberry literary club, will they turn next to Huckleberry Finn or Moby Dick – the Classics Illustrated versions, of course.

Across the Great Divide

Atomic Rooster

Death Walks Behind You was the best-known song by the British prog rock band Atomic Rooster. It had an epic yet ominous vibe when it was released in September 1970. It was also a case of bad timing. Jimi Hendrix and Janis Joplin each died that month. Jim Morrison had less than a year left.

Hendrix’ death kicked off what has been a long, slow slide of rock bands whose members, today, are all dead. It was a list once easy to keep in your head, although suddenly it's getting more difficult. After Hendrix, Noel Redding died in 2003, and Mitch Mitchell five years later. Farewell Jimi Hendrix Experience.

The next band to lose all its members were the Ramones, all of them gone by 2014, average age 55, one lymphoma, two cancers and a heroin overdose.

Last year, the final member of Iron Butterfly, Doug Ingle, died. His Spinal Tap moment came when he wrote the band’s hypnotic signature song, then sang it for the band while drunk, slurring his words so badly that what was supposed to be "in the Garden of Eden" came off as in-a-gadda-da-vida.

The last living members of the MC5, Wayne Kramer and Dennis Thompson, kicked out their final jam in 2024. The Band’s final holdout, Garth Hudson, left us earlier this year, and this past weekend, two more groups were added to the list: the New York Dolls (David Johansen) and Badfinger (Joey Molland).

New York Dolls

There's no detectable pattern here, although most of these bands played rock that was both hard and loose, and maybe there’s a lifestyle that goes along with the brand, one that inevitably exacerbates the things that can kill you. Although not in every case. Depression led two members of Badfinger to take their own lives, same as the Band’s Richard Manuel.

With the possible exception of Hendrix, I wasn't a big fan of any of these bands, so it's not like I'm getting all misty-eyed about the passing of time. Nor is it a celebrity death watch. This roll call is yet another way of reminding oneself of boomer mortality. 

And Atomic Rooster? The three-man lineup that recorded Death Walks Behind You are all gone as well. 

Empire of the Ants

(This post is part of the Seventh So Bad It’s Good Blogathon hosted by Taking Up Room)

As a kid, I wanted an ant farm, those see-through plastic dioramas where you sent away for the actual ants, but my mother put her foot down, no doubt envisioning the industrious little critters breaking free, multiplying by the hour, running amok in the kitchen, capsizing the sugar bowl and carrying off cookies.

In Empire of the Ants (1977), Joan Collins is Marilyn, a haughty, dishonest land developer taking prospective buyers on a boat trip to Dreamland Shores, a work-in-progress beachfront community, plying them with free booze to soften the hard sell of purchasing a plot of nowheresville Florida scrubland.

When we meet her, she’s belittling the boat’s grouchy skipper Dan (Robert Lansing) and working the dupes who’ve signed on for the trip: seniors Harry and Velma (there for the free lunch), the Lawsons (not well defined, therefore making them the first victims), the Grahams  (marital problems galore), Joe (recovering from a divorce), Coreen (recovering from an affair with a married man) and Margaret (fired from her job).

The boat barely docked, Larry Graham has cornered Coreen and begun unbuttoning her blouse (she knees him in the nuts), Joe and Coreen confess their sordid life stories to each other, Mr. Lawson discovers that pipes sticking out of the ground aren’t connected to anything, all while Harry and Velma are likely shoving sandwiches in her pocketbook for later.

Amidst everyone’s backstories, a barrel of radioactive waste dumped offshore have come up on the beach, leaking a silvery gunk that mutates ants coming into contact with it into giants.

Intent on ruining this picnic, the ants destroy the boat and start picking off members of the party as they run through the woods heading for a nearby river where a rowboat is moored, the trek made more treacherous by the ants following them along the banks. “They’re herding us like cattle,” Coreen realizes. Hey, at least the ants aren’t trying to milk them as they do with aphids.

The plucky survivors – Marilyn, Dan, Joe, Coreen and Margaret – reach a small town and apparent safety, only to learn its citizens are being sprayed with the queen’s pheromones, mind-controlling them into zombies dedicated to providing her colony with sugar from a local refinery.

Marilyn gets the pheromone treatment and possibly, in her final lucid moments, wonders why she never thought of using her own pheromones to convince people to buy into Dreamland Shores.

Dan defeats the queen using some road flares, and the refinery explodes, destroying the colony and snapping the sleepwalking townspeople awake.

The special effects (courtesy of director Bert I. Gordon, who lived up to his initials with such drive-in fare as giant grasshoppers in Beginning of the End (1957), oversized rats and wasps in The Food of the Gods (1975) and an army officer exposed to radiation who grows ten feet a day in The Amazing Colossal Man (1957)) are cheap and unconvincing, the worst offense being the live ants placed on a still photograph and filmed as they crawl around. If one ant seems to be inching off into the sky don’t worry, nobody will notice.

But where the special effects fail, the acting, along with the change-of-pace when the movie unexpectedly shifts into a “rural town with a secret” film (only with giant ants), moves things along briskly. The movie never bores.

“It seemed a certainty that this film would guarantee none of us would ever get a job again – such was the quality of the story, script and direction,” Joan Collins wrote in her autobiography. “But in November 1976 (when filming began in Florida) we considered ourselves lucky to be working at all.”

Like a prehistoric ant trapped forever in amber, Empire of the Ants captures a moment in time, one of leisure suits, puka shell necklaces, safari jackets, a police car chase that ends with one car sailing in slow motion into a pond, a nature-gone-wrong theme and the campiness that comes with pre-Dynasty Joan Collins movies.

In the hierarchy of cinematic ants, THEM! (1954), the first big bug movie, is arguably still the best. Empire of the Ants, meanwhile, is the most entertaining.