Tarzan the Tiger
"The Lord of the Manor—known to London as the Earl of Greystoke—and to the Jungle as Tarzan, the Tiger!"
Plot
Lord Greystoke, better known as Tarzan, returns to the African jungle alongside Lady Jane and the deceptive Albert Werper to retrieve the lost treasure of Opar, which is needed to save his family's English estates from financial ruin. Unbeknownst to Tarzan, Werper is in league with the villainous Arab slave trader Achmet Zek, who plans to kidnap Jane and sell her into slavery while stealing the gold for himself. During a cave-in at the treasure vaults, Tarzan is struck on the head and develops amnesia, leading him to wander the jungle in a childlike state where he views the priceless jewels as merely 'pretty pebbles.' As Jane is sold at a slave market and later faces sacrifice at the hands of the jealous Queen La of Opar, Tarzan eventually suffers a second blow to the head that restores his memory. In a climactic series of events, the Ape-Man defeats the conspirators, rescues Jane from the sacrificial altar, and secures the jewels of Opar to restore his family's legacy.
About the Production
Produced as a 15-chapter serial, 'Tarzan the Tiger' was a direct sequel to the 1928 hit 'Tarzan the Mighty.' It was filmed during the industry's chaotic transition from silent to sound cinema. Universal initially produced it as a silent film but hurriedly added a synchronized soundtrack featuring music, sound effects, and a primitive version of the Tarzan yell to compete with the emerging 'talkie' market. The production faced challenges with animal safety and the technical limitations of early sound recording in outdoor-style sets.
Historical Background
Released just months after the October 1929 stock market crash, 'Tarzan the Tiger' arrived at a pivotal moment in American history. While the Great Depression began to take hold, the film industry was undergoing its own radical shift from silent films to 'talkies.' This film serves as a 'transitional' artifact, embodying the hybrid nature of 1929 cinema where visual storytelling was being awkwardly married to primitive audio technology. It also reflects the era's fascination with 'Exoticism' and 'Orientalism,' common in 1920s pulp adventure stories.
Why This Film Matters
The film is culturally significant as the bridge between the silent era Tarzan and the sound era icon. It established many tropes that would define the character for decades, including the specific visual of the vine-swing and the necessity of a signature vocal call. It was also one of the last times a Tarzan film remained relatively faithful to the complex, literate character found in Edgar Rice Burroughs' novels before the 1930s MGM films turned the character into a monosyllabic figure.
Making Of
The production was a massive undertaking for Universal's serial department, directed by the prolific Henry MacRae. To simulate the African jungle, the crew utilized the lush vegetation of the Los Angeles Arboretum, which would later become a staple location for many jungle adventures. Frank Merrill, who had taken over the role from Joe Bonomo in the previous serial, brought a level of physicality never before seen in the role; he actually devised the vine-swinging technique using his gymnastic background. During the transition to sound, the studio realized they needed a 'hook' for the audio version, leading to the creation of the first vocalized ape-call. However, the 'talkie' revolution ultimately ended Merrill's career, as his high-pitched speaking voice did not match his muscular physique in the eyes of the studio heads.
Visual Style
The cinematography by Wilfred M. Cline is notable for its use of natural lighting in the outdoor jungle sequences. The film utilizes 'tinting' in some silent prints to denote night scenes (blue) or fire (red). The camera work is relatively static compared to modern standards but features effective use of deep focus during the temple sequences in Opar.
Innovations
The film is technically significant for being the first Tarzan production to utilize a synchronized sound-on-disc or sound-on-film process for the character's voice (the yell). It also showcased advanced (for the time) animal training and integration of wild animals into live-action scenes.
Music
The soundtrack is not a full 'talkie' score but a synchronized track consisting of a continuous orchestral score by Guy Bevier and Sam Perry, punctuated by primitive sound effects like lion roars, gunshots, and the experimental Tarzan yell.
Famous Quotes
Tarzan: 'Pretty pebbles... Tarzan likes pretty pebbles.' (Context: An amnesiac Tarzan playing with the jewels of Opar)
Title Card: 'The Lord of the Manor—known to London as the Earl of Greystoke—and to the Jungle as Tarzan, the Tiger!'
Memorable Scenes
- The Cave-in: Tarzan is struck by a falling rock in the vaults of Opar, a pivotal scene that triggers the amnesia plotline.
- The Slave Market: Jane is put up for auction by Achmet Zek, showcasing the film's high-stakes melodrama.
- The Sacrificial Altar: Queen La prepares to stab Jane as a sacrifice to the Flaming God, only to be interrupted by Tarzan's return.
- The Vine Swing: Frank Merrill's first major vine-swinging sequence, demonstrating his incredible gymnastic ability.
Did You Know?
- Frank Merrill, a former gymnastics champion, performed all of his own stunts, including the iconic vine-swinging which he executed with genuine athletic precision.
- This film features the first-ever recorded 'Tarzan Yell,' though it sounds significantly different from the famous multi-tracked yell later created for Johnny Weissmuller.
- Natalie Kingston, who played Jane, appeared topless in a brief swimming sequence in Chapter 8, a scene that was often censored in later re-releases but contributed to the film's 'adult' reputation at the time.
- The film was released in two versions: a completely silent version for theaters not yet equipped for sound, and a 'synchronized' version with music and effects.
- Frank Merrill's voice was considered 'unsuitable' for full-dialogue sound films by studio executives, which led to the cancellation of a planned third serial, 'Tarzan the Terrible.'
- The actress playing Queen La, Mademoiselle Kithnou, was a dancer of mixed Indian and European descent, though some contemporary sources mistakenly credited Lillian Worth.
- The serial is based specifically on the 1918 novel 'Tarzan and the Jewels of Opar' by Edgar Rice Burroughs.
- Frank Merrill retired from acting after this film and became a Recreation Director for the Los Angeles Parks Commission.
- The film was considered lost for decades until a complete copy with the synchronized soundtrack was rediscovered and restored.
What Critics Said
At the time of its release, it was praised for its high-octane action and Merrill's impressive physique. Modern critics view it as a fascinating historical curiosity, noting that while the pacing is repetitive (typical of the serial format), the stunt work remains genuinely impressive. It is often cited by film historians as one of the best examples of the 'transitional' sound period.
What Audiences Thought
The serial was an enormous hit with audiences, particularly younger viewers who flocked to Saturday matinees to see the weekly cliffhangers. It was so popular that it prompted a surge in Tarzan-themed merchandise and helped solidify Tarzan as a permanent fixture in global pop culture.
Film Connections
Influenced By
- The novels of Edgar Rice Burroughs
- H. Rider Haggard's 'She'
- Early silent adventure serials like 'The Perils of Pauline'
This Film Influenced
- Tarzan the Ape Man (1932)
- The Flash Gordon Serials
- The Indiana Jones franchise (specifically the temple and treasure elements)
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Film Restoration
Preserved and Restored. Once thought to be lost, a complete version with the synchronized soundtrack was recovered and has been released on DVD and made available in the public domain.