Of the 14 Tarzan films produced by Sol Lesser, Tarzan and the Amazons is by far the most popular. The film was endlessly screened and re-screened for more than ten years on theatrical release.
The reason for this popularity is firstly its cast. Although well past his prime, Weissmuller is still identified as the number one Tarzan. And here he is re-united with Jane after an absence of two films and three years. Admittedly, Brenda Joyce is not Maureen O'Sullivan, but she continued to play the role in the next four films, finishing with Tarzan's Magic Fire in which Weissmuller himself had been replaced by Lex Barker.
Miss Joyce has a pleasant enough personality to make the horseplay and romance with the chunky, laconic Weissmuller believable. Sheffield is also skillful and credible as Boy. And then there is Cheta, up to her usual tricks and clever shenanigans. To round off these pleasant principals, a mildly unpleasant assortment of scientists and villains headed by Henry Stephenson of all people, Barton MacLane (no-nonsense, black-hearted), J.J. Kerrigan (a welcome touch of mildly amusing, even sympathetic, comic relief) and Steve Geray (also along for comic relief, but he is miscast and the effect is a trifle strained).
The second item of appeal is the story itself. Of all the Tarzan plots, those featuring forbidden cities have undoubtedly the most appeal. And here we have not only a hidden city, complete with a mysterious altar and idol, but a city staffed entirely by women (and 99% nubile ladies at that! though care is taken to keep all costumes well within the borders of a "G" certificate).
Although lensed on a limited budget with some obvious short-cuts in art direction and special effects, enough of the matriarchal city is up there on the screen to dazzle our eyes and senses. And as if this plot element was not exciting enough, Tarzan performs all his customary feats of swimming, swinging and fighting. That poor old rubber alligator is pressed into service once more, plus some familiar lion and panther stock shots. But there's a great deal that's exciting and original too: Cheta playing with dynamite, Tarzan bridging a tree-trunk across a gigantic chasm, Jane felled by a tree in a storm, the villains turning on Athena and themselves being picked off one by one, until the final duo meet their just end in quick-sand. The dialogue of course is the usual sometimes corny mélange: "Boy think too much - forget to laugh!" But in the skilled mouths of players like these (excepting Mr Weissmuller himself), who cares? The direction is pacy, polished, the photography skilful and attractive (even at times visually exciting: the first entry into Palmeria, the silhouettes outlined on top of the cliff), and the music both pleasant and appropriate. Production values are impressive.
The reason for this popularity is firstly its cast. Although well past his prime, Weissmuller is still identified as the number one Tarzan. And here he is re-united with Jane after an absence of two films and three years. Admittedly, Brenda Joyce is not Maureen O'Sullivan, but she continued to play the role in the next four films, finishing with Tarzan's Magic Fire in which Weissmuller himself had been replaced by Lex Barker.
Miss Joyce has a pleasant enough personality to make the horseplay and romance with the chunky, laconic Weissmuller believable. Sheffield is also skillful and credible as Boy. And then there is Cheta, up to her usual tricks and clever shenanigans. To round off these pleasant principals, a mildly unpleasant assortment of scientists and villains headed by Henry Stephenson of all people, Barton MacLane (no-nonsense, black-hearted), J.J. Kerrigan (a welcome touch of mildly amusing, even sympathetic, comic relief) and Steve Geray (also along for comic relief, but he is miscast and the effect is a trifle strained).
The second item of appeal is the story itself. Of all the Tarzan plots, those featuring forbidden cities have undoubtedly the most appeal. And here we have not only a hidden city, complete with a mysterious altar and idol, but a city staffed entirely by women (and 99% nubile ladies at that! though care is taken to keep all costumes well within the borders of a "G" certificate).
Although lensed on a limited budget with some obvious short-cuts in art direction and special effects, enough of the matriarchal city is up there on the screen to dazzle our eyes and senses. And as if this plot element was not exciting enough, Tarzan performs all his customary feats of swimming, swinging and fighting. That poor old rubber alligator is pressed into service once more, plus some familiar lion and panther stock shots. But there's a great deal that's exciting and original too: Cheta playing with dynamite, Tarzan bridging a tree-trunk across a gigantic chasm, Jane felled by a tree in a storm, the villains turning on Athena and themselves being picked off one by one, until the final duo meet their just end in quick-sand. The dialogue of course is the usual sometimes corny mélange: "Boy think too much - forget to laugh!" But in the skilled mouths of players like these (excepting Mr Weissmuller himself), who cares? The direction is pacy, polished, the photography skilful and attractive (even at times visually exciting: the first entry into Palmeria, the silhouettes outlined on top of the cliff), and the music both pleasant and appropriate. Production values are impressive.