Official Edgar Rice Burroughs Tribute and Weekly Webzine Site Since 1996 ~ Over 15,000 Web Pages in Archive Presents Volume 4523 |
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Official Edgar Rice Burroughs Tribute and Weekly Webzine Site Since 1996 ~ Over 15,000 Web Pages in Archive Presents Volume 4523 |
Eclectica Archive |
ECLECTICA v.2013.10 |
Eclectica Archive |
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Future and Past |
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www.edgarriceburroughs.com/comics |
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See more on ERB's Tarzan and the Golden Lion in ERBzine: ERB C.H.A.S.E.R. BIBLIOGRAPHY www.erbzine.com/mag4/0495.html and PhotoPlay Edition: www.erbzine.com/mag4/0496.html ERB SILVER SCREEN SERIES The Film www.erbzine.com/mag5/0591.html Silent Film Screen Captures with Captions in French and English http://www.erbzine.com/mag6/0640.html BURROUGHS FAMILY BIOS SERIES James Pierce www.erbzine.com/mag27/2729.html |
See the photo coverage of
Northern California Mangani, and Museum of Modern Mythology and
Pop Culture
PHOTOS
www.modernmythmuseum.com/events.html
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at 2013 New York Comic Con Dynamite Is The (Gold) Key Master Ref: wired.com ~ Oct 2013 The superheroes originally published by 1960s independent company Gold Key — Magnus: Robot Fighter, Solar: Man of the Atom, Turok: Son of Stone and Doctor Spektor — have had a long afterlife following the closure of their parent company, having become fan-favorites in their 1990s Valiant Comics incarnations and then seeing a more recent resurrection via Dark Horse Comics. In an announcement closing out a week of big news, Dynamite Entertainment announced that it would be giving the characters their fourth chance at success next year, with a creative line-up including Mark Waid, Greg Pak and Fred Van Lente. - Graeme McMillan |
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| Promotional items from 1976 for TARZAN YELL CONTEST sponsored by THE INTERNATIONAL HOUSE OF PANCAKES. "1st annual TARZAN yell competition". The competition Tarzan yell was for boys and girls, men and women, age six and up. No special talent was needed. This was held at 39 participating IHOP restaurants in Los Angeles Orange, Riverside and San Bernardino counties. The prize was $50,000 in retail prizes including a trip to Europe for two, trip to Disneyland, trip to San Francisco and Las Vegas along with handsome trophies. There are two items, the pink form is the entry form with the rules and score card and the larger white form was given to children to play with while they were waiting for there food. |
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See and Hear the ERBzine Evolution of the TARZAN YELL www.erbzine.com/mag14/1482.html www.erbzine.com/mag19/1929.html plus THE 2012 TARZANA DUM-DUM YELL PHOTOS www.erbzine.com/mag41/4110.html |
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Edited by Mike Resnick and Robert T. Garcia Publisher: Baen; Original edition ISBN-10: 145163935X ~ ISBN-13: 978-1451639353 Available now at bookstores and Amazon.com |
TODAY’S BEST-SELLING AUTHORS WRITE IN THE
WORLDS OF EDGAR RICE BURROUGHS
Art by Dave Seeley
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For WORLDS OF EDGAR RICE BURROUGHS www.ERBzine.com/mag45/worldspress.pdf Featuring The Book's Introduction Meet the Editors: Mike Resnick and Robert Garcia Meet the Authors: F. Paul Wilson, Joe R. Lansdale, Mercedes Lackey, Max Allan Collins (in collaboration with Matthew Clemens), Peter David, Todd McCaffrey, Kevin J. Anderson (in collaboration with Sarah A. Hoyt), Kristine Kathryn Rusch, Ralph Roberts, Richard Lupoff, and book co- editor Mike Resnick. Book Contents Tarzan and the Great War by Kristine Kathryn Rusch The Fallen, A Tale of Pellucidar by Mercedes Lackey Scorpion Men of Venus by Richard A. Lupoff The Forgotten Sea of Mars by Mike Resnick Apache Lawman by Ralph Roberts Moon Maid Over Manhattan by Peter David Tarzan and the Martian Invaders by Kevin J. Anderson and Sarah A. Hoyt The Two Billys, A Mucker Story by Max Allan Collins and Matthew Clemens To the Nearest Planet As told to Todd McCaffrey The Dead World As related by David Innes to F. Paul Wilson via Gridley Wave Tarzan and the Land That Time Forgot by Joe R. Lansdale |
 
Available at Amazon.com |
Baby Peggy's father later decided a move to Beverly Hills was in order to promote her image by allowing magazine photo layouts of their lavish home. Baby Peggy's parents were friends with Ed and Emma Burroughs, and there are several anecdotes in the book (along with a fascinating first-person account of Hollywood from the silent era foreword). They retained their friendship with Emma Burroughs. More in the ERBzine.com
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| Baby Peggy was the pioneer child star. Unfortunately,
most of her movies were destroyed in an effort to save money and be able
to reuse the expensive material used to make them so she isn't as well
known as other child stars. Her parents squandered her money, and she was
supposedly washed up by the time she was 16, but don't expect a bitter
old woman. She's very positive and knows how to weave a story. I will be
moving on to her book on other child stars next!
During the 1920s Baby Peggy Montgomery and Jackie Coogan were the most popular child stars in the movies. Coogan is long gone, but Baby Peggy lives on in the person of Diana Serra Cary. Ms. Cary is one of our foremost film historians, and her vivid narrative style allows us to stand right next to her as she relives her often-troubled youth in and out of the spotlight. We follow her from the early comedies at the ramshackle Century Barn to the newly formed Universal Pictures Studio. We see her star fall in movies and rise in vaudeville when she headlines at the famed Palace Theatre on Broadway. We are also privy to the highs and lows of her personal life, right up to the present day. How fortunate we are that so long after the demise of the silent era we have an eloquent survivor to represent it. Diana Serra Cary's autobiography is both hauntingly sad and extraordinarily uplifting. The author writes with candor and authority, and as she tells the story of her life from her days as child star Baby Peggy in the 1920's to the present she draws the reader into a spellbinding tale that an author of fiction would have a difficult time fabricating. As Baby Peggy, she enjoyed a huge public following that rivaled even that of Shirley Temple a decade later, but such fame for a very young child came at a huge personal price. A product of a highly patriarchal family, Peggy quickly realized that her life revolved around the whims and expectations of her mercurial father. As her star rose, he, in a series of bad decisions, undermined her and by the middle of the decade her film career was over. In the life stories of many child stars, this would have been the end of it, a precursor to years of familial bitterness and impoverishment, but Peggy's father doggedly pursued continued fame for his child and, in consequence, more money and power for himself. Peggy was also an exceptionally intelligent, resourceful child. So after films fell apart, they hit the vaudeville circuit. What ensued was a difficult life that Cary describes in heartbreaking detail. Vaudeville, too, was short lived, and as Peggy emerged from this phase of her life her story becomes incredibly complex and unpredictable. Her family spends idyllic time on a ranch, but her father loses the land and they return to Hollywood in the 1930's. Peggy, now a young teenager haunted by her former life as Peggy Baby, endures agony and abuse by the studios, columnists, and, worst of all, the public. At a photography shop, a clerk asks her how it feels to be a has-been at 16. The book goes on to detail Peggy's metamorphosis into the self-assured, gifted writer and historian Diana Serra Cary, but the pain she goes through to get there is astounding. When I first read this book in 1996, at the time of its first publication, I was enthralled by the early chapters describing Baby Peggy in early Hollywood. Rereading it now, upon its reissue as a paperback, I have been most enthralled by the later chapters, from the time of her bitter return to Hollywood in the 1930's forward, through the second world war and beyond. I simply could not put this book down. It is as intelligent and erudite a film autobiography as I have ever read, perhaps even the finest, and as sad as much of it is (there are times when I wanted to toss the book across the room in enraged exasperation at the deeds of her father) it is finely woven and brilliantly written, flawlessly constructed and brimming over with page after page of fascinating details and anecdotes. It is also at times hilariously funny. I believe that I can safely say that one does not have to be a film buff to come away stunned and deeply affected by this book. It is indeed a story of the dark side of the entertainment world of the day; but, it is also a ferociously intelligent contemplation of a woman's deep longing to find identity in a world that is for the most part merciless in its treatment of her, a writing that is universal in its appeal. Modern former child stars give impassioned interviews telling of their harrowing lives of early fame, blaming their parents and the world for their problems. None of them come close to the insight that Diana Serra Cary reveals in her own story. Amazingly, she does not seem to judge her father for the circus life he put her through. She does not pull punches in telling her harrowing tale, but at the same time there is no sense of condemnation. It is a story of acceptance and of dealing the best one can with the trials of life. It is a remarkable achievement. The book concludes happily, or as happily as reality allows any story to end. By the final chapter, present day Diana has reconciled with her alter ego Peggy and has found that life for her is best lived as a swirl of them both. Inner peace, success, a happy family of her own, and a cult following spanning the globe are her well-earned rewards for a life spent so tumultuously. The reader closes the book, sorry to have come to the end but cheering loudly for its author and rejoicing in her ultimate triumph. In all ways, Whatever Happened to Baby Peggy? is splendidly realized. It is an important contribution to film history, but it is also, simply put, a terrific and powerful read. |
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TARZAN IN 3D FROM CONSTANTIN
FILMS
TARZAN 3D - English Official Trailer #4
http://www.youtube.com/watch?v=7cZE1c95Va0
TARZAN 3D - English Official Trailer #3
www.youtube.com/watch?v=-j3dnruxwJ4
TARZAN 3D - English Official Trailer #2
www.youtube.com/watch?v=VzhDgbURwUU
TARZAN 3D - English Official Trailer #1
www.youtube.com/watch?v=xYFmMfOsTf0
www.ERBzine.com/eclectica
A fond look back at Disney's Made-For TV/Video
follow-up to their popular Animated Tarzan Feature
Tarzan and
Jane
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BOMBA, THE JUNGLE BOY: Vol. 2
(African Treasure/Bomba and the Jungle Girl/Safari
Drums/Golden Idol/Killer Leopard and more!)
Warner Archives ~ August 20, 2013 ~ $35.99
Ref: DVDtalk.com
~ Review by Stuart Galbraith IV
Back in 1932, Johnny Weissmuller began playing Tarzan in what's now regarded as the "official" Tarzan movie series. First at MGM, the series peaked early with Tarzan and His Mate (1934), partly because enforcement of the Production Code tamed the uninhibited sexuality and graphic violence present in the first two pictures. Studio head Louis B. Mayer was also keen to make more "family friendly" movies at MGM, and these factors influenced Tarzan Finds a Son! (1939), which introduced precocious seven-year-old Johnny Sheffield as Tarzan and Jane's adopted offspring, whom they named "Boy."
When the Tarzan series moved from MGM to RKO in 1942 both Weissmuller and Sheffield went with it, though Maureen O'Sullivan, who had played Jane in all the MGM films, bowed out. The underrated RKO Tarzans initially featured Tarzan and Boy only, with Jane supposedly out of Africa and helping the war effort back in England. She eventually returned, this time played by Brenda Joyce. As Sheffield grew into a teenager, the plots of these films sometimes were driven by friction between Tarzan and Boy. Often Boy, anxious to prove he'd outgrown that name, would get into trouble after disobeying Tarzan.
Sheffield left the series after Tarzan and the Huntress (1947), as did Weissmuller himself following the next entry, Tarzan and the Mermaids (1948). Lex Barker took over the role for the next several years while Weissmuller moved over to Columbia. There he began starring as Jungle Jim, essentially Tarzan with his clothes on, in 16 movies made between 1948 and 1956.
Johnny Sheffield, meanwhile, was promoted to the lead of his own movie series, Bomba, the Jungle Boy, loosely based on the twenty books published under the pseudonym "Roy Rockwood," but actually ghost-written by several different authors including John William Duffield, all working for the Stratemeyer Syndicate, between 1926-1937.
Sheffield starred in 12 Bomba movies in all, the product of Monogram Studios (later Allied Artists) between 1949-55, of which the last six are collected in Bomba - The Jungle Boy - Volume 2. The movies included here are African Treasure, Bomba and the Jungle Girl (both 1952), Safari Drums (1953), The Golden Idol, Killer Leopard (both 1954), and Lord of the Jungle (1955).
A Warner Archive release, the films are spread across three DVD-Rs. The films have decent transfers, with the last three in their correct 1.85:1 enhanced widescreen. No extras.
In that narrow range between good and bad jungle movies, the Bomba movies rate at the lower end of the scale. The Tarzan pictures, even the early RKO ones with Weissmuller and the Lex Barker movies made during Bomba's run, were the Mercedes-Benz of jungle adventures. RKO made an average of just one Tarzan movie per year (and, before that, one every two years at MGM), and clearly put more time and money into those than practically all other jungle films. Weissmuller's Jungle Jim movies at Columbia were significantly cheaper but still lively and entertaining, partly because they incorporated fantasy elements, including half-human monsters and even some ‘50s sci-fi genre elements.
If Columbia's Jungle Jims were bottom-of-the-bill B movies, then Monogram's Bomba films were of even lesser repute. The Bomba movies probably had budgets not much lower than the Jungle Jims and aren't desperately cheap, but neither are they ever remotely ambitious.
Therein lies Bomba's basic problem. The movies are adequately if cheaply made, but are basically unimaginative imitation Tarzan movies. Bomba, for instance, has a Cheeta-like companion in Kimbbo, another chimpanzee. In the last couple of films, Kimbbo is nearly the same size as the adult Sheffield, resulting in considerable awkwardness when Bomba tries to carry Kimbbo like a baby chimp. Anyway like Tarzan, Bomba is warm and unpretentious around friends, speaking to them in simplified English ("Bomba not worried!") like the Weissmuller Tarzan, but as with his inspiration Bomba is instinctively distrustful of strangers to his domain. Like Tarzan, Bomba is Caucasian, raised in the jungle after the untimely death of parents he never knew.
But where Tarzan was noble, the intelligent primitive, and at one with the jungle world and all the animals residing there, Bomba is just an ordinary young man who happens to wear a loincloth and live in the jungle. Weissmuller had been a five-time gold medal-winning Olympic swimmer. At his physical peak Weissmuller wasn't merely athletic but a thing of beauty. He had the grace of a gazelle and the looks of a Greek god. There was always a mystique about Weissmuller's Tarzan - there always seemed to be complex emotions lurking beneath that simple exterior - and as a man living in Darkest Africa able to communicate with his animal friends he was always strangely believable.
If Weissmuller had a swimmer's grace, Sheffield is more like the captain of the high school Greco-Roman wrestling team. He's fleshy, even stocky, and clomp-clomp-clomps around the jungle like a wind-up toy. I was never a fan of Sheffield's Boy, though his later entries with Weissmuller were interesting because of the imperfect relationship between father and adopted son. By these later Bomba films, however, Sheffield was in his early 20s, had long ago lost his child star cuteness: wiry hair, beady pale eyes, lantern jaw, Terry-Thomas like gapped teeth. Sheffield made virtually no other films beyond the Tarzan and Bomba movies, and none at all after Lord of the Jungle. He died in 2010 at age 79.
Unlike the cheap but lively Jungle Jim movies, the Bomba films almost never deviated from standard jungle movie plots: unscrupulous diamond seekers, unscrupulous gold idol seekers, the hunt for a rogue leopard, the hunt for a rogue elephant. All of the films were written, directed, and sometimes (with Walter Mirisch) produced by Ford Beebe, best remembered as the co-director of the three Flash Gordon serials (1936-40) as well as Buck Rogers (1938), all starring Buster Crabbe. Beebe directed numerous other chapter-plays, then helmed miscellaneous B Westerns before turning his attentions to the Bomba films, his last films before retiring. Beebe's direction isn't bad but his screenplays are tame and dull.
On the plus side the Bomba films have a certain continuity thanks to series regulars Leonard Mudie as Scottish Commissioner Andy Barnes and Smoki Whitfield as Eli, Mr. Barnes's African assistant. (The Bomba books are regarded as comparatively racist next to Edgar Rice Burroughs's Tarzan stories, but the Bomba movies are merely routine, white and black actors playing heroes and villains without much regard for their race.) The Bomba movies all run about 70 minutes and have less varied locations than the Jungle Jims. Most of the Bombas seem to have been filmed on the grounds at and in the lake of the Los Angeles County Arboretum and Botanic Garden.
The cheapness of the series becomes more obvious when, as I did, the viewer watches the films in quick succession. In Lord of the Jungle, for instance, ing?nue Nancy Hale goes swimming in a nearby lake, at one point resting on a floating log which Bomba playfully overturns. Nearly all this footage consists of stock shots from The Golden Idol, featuring sexy actress Anne Kimbell, who's quite identifiable in several long shots.
The movies have decent casts for such low-budget movies. Veteran character players Lyle Talbot, Arthur Space, Walter Sande, Emory Parnell, Douglas Kennedy, and Wayne Morris join ing?nues Laurette Luez, Karen Sharpe (cute as a button), Barbara Bestar, Beverly Garland, and black actors, often uncredited, such as Woody Strode, Amanda Randolph and Juanita Moore.
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Visit the ERBzine coverage of BOMBA Films and Books www.erbzine.com/mag8/0897.html www.erbzine.com/mag8/0896.html www.erbzine.com/mag8/0899.html Johnny Sheffield Remembered www.erbzine.com/mag31/3198.html |
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while on location in Palm Springs for "Her Jungle Love." |
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Promo for the Clampett and JCB John Carter Animation Project |
Sample Pellucidar page by Al Williamson Interesting spelling : ) |
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See the rare John Carter Animation Portfolio at: www.erbzine.com/mag21/2175.html and hwww.erbzine.com/mag21/2176.html |
Early '70s photo courtesy of Rob Clampett ~ beanyandcecil.com
Bob Clampett and John Coleman Burroughs with the promotional portfolio
of their John Carter project
At the offices of ERB, Inc. with Hulbert Burroughs and Danton Burroughs:
JCB's Thark Mask and Sword
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See the ERBzine Tributes to Al Williamson starting at: http://www.erbzine.com/mag31/3154.html |
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(October 19, 1928 – October 17, 2013) Dead at 84; founder of cartoon studio Filmation Lou Scheimer, who founded the Filmation animation studio that became a Saturday-morning cartoon powerhouse with characters such as [TARZAN], Fat Albert, He-Man and the Archies, died Thursday at his home in Tarzana. He was 84. He had Parkinson's disease, said his wife, Mary Ann. Lou was a Tarzana neighbour and friend of Danton Burroughs . . . and a great Tarzan booster. Danton actually performed the Tarzan "yell" for the cartoon series. See Mr. Scheimer's entry in our Tarzana Hall of Fame series
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