Film Review: Tarzan and the Huntress (1947)

Tarzan and the Leopard Woman, eleventh instalment of the classic Tarzan film series starring Johnny Weissmuller, might be problematic to certain segments of today’s audience with its reactionary and “politically incorrect” views on Africa. Tarzan and the Huntress, its 1947 sequel directed by Kurt Neumann, goes in opposite direction and it might be quite appealing to the those progressive and even more to those with strong environmenatlist views. The title character, played by Patricia Morrison, is Tanya Rawlinss, big game huntress who organised major expedition into Africa in order fill American and other world’s zoos with animals that ceased to be sent during recently ended Second World War. She visits the kingdom ruled by wise and old King Farrod (played by Charles Trowbridge) who sets strict limits on the number of animals to be hunted, fearing that their numbers can otherwise be depleted. When Tanya’s attempts to change his mind fail, her unscrupulous assistant Paul Weir (played by Barton MacLane) forms pact King’s nephew Prince Ozira (played by Ted Hecht). King is “accidentally” killed during the hunt and Ozira as new ruler allows Tanya’s expedition to catch as many animals as it can. That doesn’t sit well with Tarzan who calls animals to his part of the jungle, which would make Tanya’s safari follow them and lead to inevitable conflict during which Tarzan rescues Prince Suli (played by Maurice Tauzin), King’s son who miraculously survived assassination attempt.

Tarzan and the Huntress shows that a film series even in its late stages and even with technical and budget limitations of B-production, can deliver the goods to targetted audience. This is mostly due to the long and fruitful experience gained by producer Sol Lesser, director Kurt Neumann and regular cast and their efforts function as clockwork. Film has seemingly unimaginative and predictable script but Neumann’s direction provides very good combination of action and romance, all delivered with rapid pace and in short running time, suitable for younger audience. Despite “whitewashing” of Africa characteristic in that period of the series (with natives being portrayed as white), script by Jerry Ruskin and Rowland Leigh offers some rather progressive content. King Farrod is portrayed as wise, visionary and benevolent rules who provides his subjects with some sort of welfare state and wants to preserve country’s wealth and natural resources from greedy, manipulative and unscrupulous Westerns. This very subtle injection of left-wing politics, which occurred at the eve of Red Scare and McCarthyst purges in Hollywood, probably wasn’t noticed by most of the audience, interested in simple story with clear heroes and villains. The latter are represented with the vile character of Paul Weir, played by Barton McLane who had played similar character in earlier instalment Tarzan and the Amazons. The most impressive member of the cast is, however, Patricia Morrison, one of the most beautiful and the most underrated actresses of 1940s Hollywood, who is putting her exotic looks to great use. Tarzan and the Huntress, however, fails to exploit it as a possible seductress or rival to Jane (played by weak Brenda Joyce) for Tarzan’s affection. Her character actually doesn’t fight Tarzan and instead has to deal with chimpanzee Cheeta whose antics sabotage her plans in comical ways. Johnny Sheffield, child actor playing Tarzan’s adopted son named “Boy”, was 16 years at the time of production this was his last appearance in the series; he would later star as protagonist of the similarly themed film series Bomba the Jungle Boy from 1949 till 1955. For Johnny Weissmuller, who, despite being in his early 40ies, still has impressive physique and delivers good stunts, Tarzan and the Huntress was penultimate film of the series.

RATING: 7/10 (+++)

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