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Issue 0585
An ERB C.H.A.S.E.R. Online Encyclopedia Feature
and another in the
ERBzine of the Silver Screen Series

Part II

Scenes from New Adventures of Tarzan

Burroughs-Tarzan Pictures in Britain
by Peter Ogden - ERBANIA Magazine
The New Adventures of Tarzan was first released in the UK by Wardour Films in 1935, complete at 75 minutes and with Herman Brix credited. Tarzan and the Green Goddess was released by Associated British Pictures, December 1937 for the Xmas season and before the American release. It had a running time or 72 minutes. Both films were extremely successful.

In 1940 New Realm obtained the rights to distribute the two films but altered the format of the opening credits and changing Brix to Bruce Bennett. This release of The New Adventures of Tarzan, featured the disclaimer about the sound quality, but was not dubbed and had the same running time as the earlier release. Tarzan and the Green Goddess also had the credits changed, but suffered more, as the imaginative opening flashback sequence (using the  crystal ball scene from the serial) was deleted and in its place was a ludicrous travelogue on Guatemala showing African fauna in that country. Even so the films were still very popular and over the next decade were reissued many times. 

New Adventures carried the sound disclaimer on all its reissues but it was not until sometime in the late 1950s that New Realm chopped it down to 59 minutes and dubbed it with an atrocious new soundtrack. The supporting players fared well, but the actor who dubbed Brix, had a nasally high pitched voice. Even with the dubbed soundtrack, it still used the disclaimer about the sound quality. Why it was dubbed after it had been shown successfully for twenty years or more is a mystery. 

Unfortunately, it appears to be the only version in the Warner archive and the only version which is on DVD. American Movie Classics ran this version  during their Tarzan films marathon, several years ago, boasting that all their movies are uncut original versions.  I wrote to them explaining the history of the copy of New Adventures that they ran, hoping they could get Warner to supply them with the original version. But either they didnít bother, or Warner didnít have the original, because AMC just stopped running New Adventures.

There is also a 75 minute version of this film on DVD, but merely the 59 minute version, padded with 15 minutes of stock jungle footage.

There are copies of the early versions on 16mm, I have an early New Realm print and I  know of collectors who have copies of the original US release, so maybe we will see a decent copy on DVD one of these days. 

NY Daily News ~ June 3th 1997
In 1993, 34 YEARS after he starred in what many experts have called the worst Tarzan movie ever made, Denny Miller got the last word. `I found my old loincloth," he says. "And it still fits. So after all these years, I can say I am still a man of the cloth." No matter what else they say, it can never be taken away from him that he was Tarzan. 

When a struggling writer named Edgar Rice Burroughs created Tarzan in the October 1912 edition of "The All Story Magazine," he had no idea how much work he would create for Adonis-like actors and shapely actresses over the next 85 years. At the moment, for instance, he's creating work for the somewhat unlikely couple of Wesley Snipes and Rosie O'Donnell, who will be the voices of Tarzan and Jane in an animated "Tarzan" Disney expects to release next year.

That will join some 40 past Tarzan movies, many of which have been assembled by the cable channel AMC for a three-day, 32-flick Tarzan retrospective that begins Friday. (See list for full lineup.

It does not include Denny Miller and his 1959 remake of "Tarzan the Ape Man." So many Tarzans, so little time. But that makes Miller, in a sense, the perfect person to reflect on Tarzan's appeal. `It's a great mythological story," he says. "For both men and women." That is to say, it has all the elements. Noble savage. Independent woman. Environmentalism. Cute animals. Dangerous animals. Rippling muscles. Steamy romance.  "It's sort of a cross between Dr. Doolittle and Chippendales," says Miller. "You see how the size of the costumes goes up and down like hemlines, an `As much as we can get away with' kind of thing."

The most notorious Tarzan movie costume, of course, was no costume at all. The 1934 "Tarzan and His Mate" called for an underwater love dance between Tarzan and Jane, and Olympic gold medalist Josephine Kim, standing in for Maureen O'Sullivan, wore nothing. Though the film was strategically blurred, the resulting outcry got it snipped from the final print, and this became one more reason the movie industry created the blue-nosed Hays Office to ensure proper self-censorship. 

Enticing as all that rippling flesh may be, however, Tarzan's real selling point has always been adventure scenes, as Miller notes, that stir young boys to grab ropes and swing across swimming holes over imaginary crocodiles. Tarzan himself has tackled Nazis, crooked New York judges and slave traders, as well as a rotating cast of craven villains seeking to strip his land of its diamonds, gold, elephant tusks and whatever. With more than 90 books, 40 movies, 350 radio serials, three TV series and a web site, Tarzan long ago entered the vernacular of America, with his gold dust rubbing off on even fleeting portrayers. 

Like Miller, who adds that his own "Tarzan" wasn't really all that bad. "It was a circus," he says. "And I've never been to a bad circus. Besides, I've seen two or three `Tarzan' movies since then that push my movie back to only third or fourth worst." He doesn't mention the second remake of "Tarzan the Ape Man" in 1981 with Miles O'Keefe and Bo Derek, but maybe he's just too polite.

For his own part, he's sorry his Tarzan career was cut short. "I'd love to have done 14 more." But he went on to act in hundreds of movies and TV shows getting beaten up, for instance, by Charles Bronson and Tom Selleck and he did a "Gilligan's Island" where the joke was that he was king of the apes, but he fainted every time he saw one. He also once ran a fitness club called "Me Tarzan, You Train." 

But in general, he says, Tarzan is bigger than any actor, even Johnny Weissmuller. "It's like Disney. Every few years you get new people discovering the characters, so someone new plays them. Tarzan will go on forever."



NEW ADVENTURES OF TARZAN is something unique, in that Edgar Rice Burroughs himself had input into the project. He slammed out a story which served as a basis for the screenplay, he selected the actor to play Tarzan, and he saw that the character was presented as literate, articulate and yet savagely violent when appropriate. It's the dichotomy of the sophisticated Lord Greystoke and the feral Apeman which gives Tarzan so much of his appeal to me. 

As much as I really wanted to like this serial, it's still a mixed bag of good and bad. On the one hand, it remains a film interpretation of Tarzan nearer to Burroughs' original vision than any other (Gordon Scott's version is also pretty faithful and my personal favorite movie Tarzan). Herman Brix (later Bruce Bennett) is visually perfect, lean and muscular in an athletic rather than bulked-up weightlifter way. He had been in the 1928 Olympics and obviously did not sit around with donuts and beer all day. This Tarzan also acts intelligent, speaks normal English and looks comfortable in a formal dinner jacket or white tropical trousers and shirt (although he spends most of his time in a ragged loincloth, of course). Brix can wrestle several men at a time or rush up a tree and it's convincing because he actually WAS fit enough to do it. 

The mandatory lion-fighting scene is led up to with some suspense as Tarzan finds himself tied up in a small chamber with the big cat chained near at hand. It's a question of whether the Apeman will be cut free by gal pal Ula (helpfully reaching in through a hole in the wall with a knife) before the lion breaks loose. In the books, Burroughs always had Tarzan try to land behind the lion, wrap himself around the beast and stab it furiously in the chest before those claws and fangs would shred him. Here, as in most movie versions, Brix literally wrestles with the lion the way you'd tangle with a human opponent. Maybe this would work for someone like Hercules or Samson, but a mortal man trying this approach would certainly be killed in a few seconds. Still, it's a tradition of the series. 

The serial was shot on location in Guatemala, so the scenery is often stunning (like the rushing river going over waterfalls) or miserably hot and filthy like real jungles are. (Stock footage seems to be telling us that there are rhinos and giraffes in Central America, which is kind of a shock to learn.) The actors are obviously sweaty, grimy and uncomfortable in most shots, which seems more authentic than the usual Hollywood backlot emoting. Unfortunately, this location shooting also means the sound recording is atrocious. Dialogue is hard to follow, and the lack of normal noises sometimes gives the impression of watching a silent movie but without the benefit of constant musical scoring. Money spent on a decent Foley artist or dubbing in some of spoken lines would have helped immensely. 

Also, the editing is usually so choppy and incoherent that it reminds me of today's split-second MTV-style style. The fights are sped up way too much; you expect a little discreet undercranking but these guys go overboard. I much prefer the Republic approach, where the action is clear and exciting. Brix is so good in the role, it's a shame he wasn't given a better vehicle to show his approach. (Check out FIGHTING DEVIL DOGS to see him in a better light as an action hero.) My copy of the feature version is rather grainy and murky, but that's not necessarily how the original twelve chapters looked in theatres as I'm relying on cut-rate fly-by-night modern DVD companies. 

The story itself is nothing special, just the usual tug of war over a hot potato. In this case, the knick-knack everyone is desperately trying to snatch from one another is the Green Goddess, a rather unattractive slab of stone. The Mayan-descent natives of a ruined city in the jungle worship the Green Goddess and naturally want it back, while archaeologist Major Martling is contending with ratfink Raglan. These intruders from the world outside know that inside the idol is the secret formula to a new super-powerful explosive that every European nation would gladly drop a bundle to buy. So there follows the series of brawls, kidnappings and escapes, deathtraps, encounters with wild animals etc that normally take place in serials. In NEW ADVENTURES OF TARZAN, though, the pacing is slack and I had the distinct impression that many times no one involved was sure what was supposed to happen next. Improv is fine for comedy, for adventure not so much. 

My favorite scene took me by surprise with its goofiness. Comic relief George is sitting on a log, fooling around with a snapping turtle for no good reason. Another turtle sees him and (wait for it) calls for help. Half a dozen of the large beasts swarm up rather quickly behind George and one clamps its beak hard right where you would expect. As George howls and prances around, bouncing off trees with a turtle hanging down from the seat of his pants, I had to smile at this unexpected tomfoolery. I especially like the way Tarzan rolls his eyes disgustedly when he examines the panicky man and is told he was attacked by "thousands and thousands" of turtles. 

Along with expedition for no apparent reason is shady lady Ula Vale (played by the rather attractive Ula Holt), who turns out to have motives of her own and is a bigger help to Tarzan than the others in the party. As in several Burroughs stories, the woman of mystery always is revealed to be a spy or something similar. The other character with a distinctive look is the high priest of the lost tribe. With his neatly trimmed white beard, headband and wild staring eyes, he reminds of this guy I used to see loitering around gas stations near the Thruway exit. 

Dir: Edward Kull (not of Valusian descent, as far as I know)

Filmed in Guatemala in 1934
TRIVIA: Joan Lowell (1902-1967), film actress, author, and film director starred in Adventure Girl (1934), a film loosely based on her fictionalized autobiography, Cradle of the Deep. Lowell, a self-styled adventuress, retold her "true" adventures in the jungles of Guatemala. The native, Princess Maya, in the film was played by Ula Holt. An interesting scene in the film was a very long wrestling match between the two women. A year later Ula co-starred with Herman Brix in The New Adventures of Tarzan (1935). Some of the film's jungle footage was actually edited into the Tarzan film.

Click for full-size splash bar
Young adventurer, Joan Lowell, with her elderly father, Nicholas Wagner, and two crew members, ex-marine William Sawyer and Otto Siegler, sail from New York to the Caribbean in their 48-foot schooner Black Hawk . Soon after their departure, Joan and the crew battle a hurricane, which damages their mast and casts them to a shipwreck graveyard. As Bill and Otto lay claim to the mast of one of these abandoned boats, Joan and her father board an old gunrunner, where Joan discovers a one-hundred-year-old map to a lost Guatemala jungle city and the hiding place of a giant sacred emerald. Afraid her superstitious sailor father will disapprove of her tampering with a dead man's belongings, Joan says nothing about her find but steers the schooner toward the lost city. Shortly afterward, however, she discovers that their boat's entire water supply was drained by the hurricane. Dying of thirst, Joan and Bill drift in a rowboat to an island where a native gives them coconuts and life-saving water. When they reach the village near the lost city, Joan lies about her intentions to the local matriarch, Princess Maya, in order to obtain permission to explore. Head villager Manola is suspicious, but Maya reluctantly gives her consent but threatens Joan with death if she betrays her trust. Trailed by Manola and his men, Joan, Bill and Maya set out on the river and use the old map to locate the Mayan ruins and the temple that houses the coveted emerald. With Bill's help, Joan, blinded by her greed, diverts Maya and begins to hunt for the emerald, callously destroying a sacred goddess idol when she is caught in the act by Princess Maya. She tries to escape while Bill fights off Manola and his men but Princess Maya overtakes her and they fight fiercely until Joan overcomes her and tries to escape again. She is captured by Manola and Princess Maya sentences her to burn alive for her lies and sacrilege to the goddess idol. As the fire burns around Joan, she is rescued at the last moment by Bill. Manola and his men chase the escaping adventurers in their boat. But just as it appears they will escape back to the schooner the outboard motor stops and villagers close in to recapture them. Joan and Bill pour gasoline into the water and set fire to it to deter the villagers but the flames begin to engulf their own boat. Joan and Bill chop a hole in the bottom of the boat, dive in, and swim under the flames to safety to their schooner. Joan confesses her greed to her father and vows never to be tempted by material wealth again.


8 p.m.: "Investigating Tarzan," new documentary
9 p.m.: "Tarzan and His Mate" (1934)
10:45 p.m.: "Tarzan Escapes" (1936)

12:30 a.m.: "Investigating Tarzan"
1:30 a.m.: "Tarzan Finds a Son" (1939)
3 a.m.: "Tarzan's Secret Treasure" (1941)
4:30 a.m.: "Tarzan's New York Adventure" (1942)
5:45 a.m.: "Tarzan Triumphs" (1943)
7:15 a.m.: "Tarzan's Desert Mystery" (1943)
8:30 a.m.: "Tarzan and the Amazons" (1945)
10 a.m.: "Tarzan and the Leopard Woman" (1946)
11:15 a.m.: "Tarzan and the Huntress" (1947)
12:30 p.m.: "Tarzan and the Mermaids" (1948)
1:45 p.m.: "Tarzan Escapes" (1936)
3:30 p.m.: "Tarzan Finds a Son" (1939)
5 p.m.: "Tarzan and His Mate" (1934)
6:45 p.m.: "Tarzan's Magic Fountain" (1949)
8 p.m.: "Tarzan's Peril" (1951)
9:30 p.m.: "Tarzan the Fearless" (1933)
11 p.m.: "Tarzan and His Mate" (1934)

12:45 a.m.: "Tarzan's Savage Fury" (1952)
2:15 a.m.: "Tarzan of the Apes" (1918)
3:15 a.m.: "The New Adventures of Tarzan" (1935)
4:30 a.m.: "Tarzan's Revenge" (1938)
5:45 a.m.: "Tarzan and the Green Goddess" (1938)
7 a.m.: "Tarzan and the Slave Girl" (1950)
8:15 a.m.: "Tarzan and the She-Devil" (1953)
9:30 a.m.: "Tarzan's Hidden Jungle" (1955)
10:45 a.m.: "Tarzan and the Trappers" (1958)
Noon: "Tarzan and the Lost Safari" (1957)
1:30 p.m.: "Investigating Tarzan"
2:30 p.m.: "Tarzan's Fight For Life" (1958)
4 p.m.: "Tarzan's Greatest Adventure" (1959)
5:30 p.m.: "Tarzan the Magnificent" (1960)
7 p.m.: "Tarzan Goes to India" (1962)
8:30 p.m.: "Tarzan and the Valley of Gold" (1966)
10 p.m.: "Investigating Tarzan"
11 p.m.: "Tarzan's Three Challenges" (1963)

12:45 p.m.: "Tarzan and the Great River" (1967)
2:30 p.m.: "Tarzan and the Jungle Boy" (1968)


Ashton Dearholt who spent four months on location supervising The New Adventures of Tarzan


Dearholt, Stout and Cohen
An Adaptation By
Chas. F. Royal and Edwin H. Blum
Based on the Novels
Directed by
Screen Play by .......................................... Chas. F. Royal
Photography .............................................. (Edward Kull, A.S.C.
             (Ernest F. Smith
Art Direction ............................................. Charles Clague
Recording .................................................. Earl N. Crain
Editing ....................................................... Edward Schroeder

Sound Recording System
Lyle E. Willey and Associates

TARZAN .................................................. HERMAN BRIX
Ula Vale .................................................... Ula Holt
Major Martling .......................................... Frank Baker
Alice Martling ........................................... Dale Walsh
Gordon Hamilton ....................................... Harry Ernest
Raglan ........................................................ Don Castello
George ........................................................ Lewis Sargent
Bouchart ..................................................... Merrill McCormick
Nkima ......................................................... "Jiggs"


The efforts of motion picture producers to bring realism to the screen, and to record for the benefit of the public the natural wonders of the world, reach a climax in the Aston Dearholt "Tarzan" Expedition into Guatemala.

True, Dearholt is not the first, by any means, to explore with the camera! Others have braved the far north, the dark interior of Africa, the enervating climate of the South Seas but, generally speaking, these men have ventured chiefly in the interests of travelogues and for that reason with comparatively light equipment. It has remained for Dearholt -- actuated by a desire to use Guatemala as a background for a fiction story -- to transport what was literally a fully equipped studio to Central America, and to drag, by means of motor trucks, tons of freight through parts of the jungle and over high mountain passes hitherto deemed inaccessible -- in some instances -- even to men afoot or on muleback.

From the moment the liner Seattle, carrying the Dearholt Expedition of 29 persons and tons of freight, steamed within sight of the Guatemalan Coast, one stormy night last December, trouble began. Landing was the first problem, for San Jose, the port at which the Seattle stopped, has no harbor, and both passengers and baggage had to be lowered into boats by means of a crane, 3 miles from shore in a rolling sea. The crane, designed to accommodate freight of the ordinary type, was strained to its limit with a four ton sound truck on its hook and Dearholt literally held his breath while it dangled in mid-air and finally settled with a jolt on the barge sent out to receive it. For no one knew, better than he, that upon this big clumsy device depended the success of his entire trip.

Sound truck difficulties followed consistently on the first location trip the company took from the coast to Chichicastenango which is set on a plateau some 8,000 feet above the sea level. Some idea of the travelling difficulties encountered on this trek may be gathered from the fact that although the distance was only 100 miles, it took the "Tarzan" company 18 hours to cover it in high-powered automobiles. The sound truck and other trucks heavily loaded with storage batteries to feed it, alternately crawled and skidded on the steep ascent and finally ad to be towed and pushed from behind before they could make the grade.

So much for the climb up to Chichicastenango -- coming down was another and more thrilling story. The grade was so steep that Eddie Kull and Earnie Smyth, cameramen who were piloting the sound truck could scarcely keep it on the road even when it was geared in first with all brakes set. In one spot -- particularly precipitous -- the truck plunged ahead with such speed that Kull and Smythe had to hang on in sheer desperation to keep from being pitched head-long into the road.

The first serious trouble came when, after nightfall, sharp rocks punctured one of the sound truck's tires. The blowout occurred on a narrow road, tilted and at an angle of about thirty degrees, while on the left was a sheer drop of 3,000 feet. Even with brakes set tight and front wheels turned, it was plain that the truck could not be kept in place long enough for  repairs unless it was propped. Half an hour more time was lost while the boys groped about in the darkness, with the aid of pocket flashlights, in search of big boulders.

A tropical storm was the climax. It came about 2 o'clock, while the expeditionists were still at a height of 3,000 feet. Thunder reverberated through the mountains, while lightning flashed and rain fell in torrents. As though this was  not enough, the natural electrical phenomena reacted, in some way, upon the wiring of the cars, and lights -- not only of the sound truck, but every car in the entourage, went dark. The result was that the last 12 miles of the return trip from Lake Atitlan was an experience that the "Tarzan" people will never forget.

It was at Tical, however, that the company actually went native. Miles from civilization, the walls of its ancient ruins are overgrown with vegetation, Tical is the abiding place of bats, howling monkeys and even jaguars, and while its environs may be a joy to archaeologists, it furnished a severe test to the courage and endurance of Dearholt's company. Due to the elaborate precautions that had been taken to protect the troupe on this dangerous location, and to the efficiency of the Indian porters, there was only one mishap; one of the soundmen was bitten by a poisonous snake and had to be taken by automobile to the nearest doctor, some 50 miles away.

Too, annoyances abounded at Tical. There were insects, for instance -- ticks of several varieties, and sand flies. The latter were so tiny they worked their way through the finest mosquito netting, and inflicted red splotchy bites that itched prodigiously. Then there were odd animal cries at night that sounded like human beings in distress, and the chattering of monkeys and paroqueets by day -- all vastly disquieting to ears attuned to the honking of motors and the shrill shrieks of ambulance and police cars.

However, the colorful beauty, historic interest and variety of the locations included in the "Tarzan" itinerary made all the trouble of reaching them well worth while, for the action of Edgar Rice Burroughs' story calls for striking contrasts in backgrounds. It is a far cry from the crumbling walls of the Ruins of Tical, relic of the early Mayan civilization, and Antigua, capital during the Spanish regime  in the 16th century, to Guatemala City, "little Paris" of Central America which, with its luxurious villas, taxis and up-to-date night clubs, rivals in gaiety some fashionable continental resort -- but Ashton Dearholt has incorporated all three of these backgrounds into Tarzan and the Lost Goddess.

Guatemala City and numbers of towns and villages covered by the expeditionists, being equipped with hotels, presented no problems to Dearholt in housing his company -- in fact, many of the inns in the smaller communities were not only picturesque, but offered excellent accommodations. IN Antigua, for instance, which now has a native population of about 2,000, there was no suitable place to live, and the troupe spent a lonely New Years there, quartered in adobe huts, with no means of celebrating the holiday except to tramp through ruins of old Spanish cathedrals and to listen to the broadcast of the Hollywood Rose Bowl football game over the radio.

Every town, however, was not an Antigua, by any means, and the trip proved hazardous, thrilling, yet fascinating in many ways. Guatemala City, for instance, offered every thing in the way of amusements from bull-fights to opera, and the village of San Christobal proved a close second for entertainment with its lively fiesta, which lasted three days, featured Devil Dancers, and supplied as much fun as a county fair in this country -- and a great deal more novelty. Picturesque inns, interesting historic sites, colorfully attired natives and the luxuriant natural beauties of the country also contributed to the pleasure of the visitors as well as did the profusion of flowers and brilliantly colored birds and butterflies.

But even in their moments of relaxation Dearholt and his company never forgot the purpose of their trip: they asked no quarter -- and gave none -- when it came to a question of getting realism for The New Adventures of Tarzan.

Alternate Revised Credits from IMDB
Director: Edward A. Kull and Wilbur McGaugh  (uncredited)
Writers: Edgar Rice Burroughs (novel), Edwin Blum (as Edwin H. Blum), Bennett Cohen (screenplay as Ben S. Cohen), Basil Dickey,
Charles F. Royal (as Chas. F. Royal)
Release Date: 21 May 1935 (USA)
Tagline: The Greatest Tarzan of All Time!
Plot: The Green Goddess is a totem worshiped by the primitive natives of a lost city deep in the jungles of Guatemala. It contains both a fortune in jewels and an ancient formula for a super-explosive which could threaten world safety in the wrong hands. From Africa, Major Martling and Ula Vale launch separate expeditions to find the Goddess and place its secrets in safe hands. Ula's fiance died in an earlier attempt at the same goal and she has taken up the trail in his memory against the advice of her lawyer, Hiram Powers, who covets the Goddess for himself and sends Raglan, a mercenary, to get it for him. Aboard their ship to Guatemala is Lord Greystoke - aka Tarzan - on a mission to find his old friend, d'Arnot, whose plane crashed in the vicinity of the same lost city. Tarzan joins forces with Martling, and they reach the lost city in time to save d'Arnot, but lose the Goddess to Raglan. Ula joins Tarzan and Martling in pursuit of Raglan, whence they must contend with the perils of the jungle, Raglan's henchmen, and a party of primitives from the lost city sent to retrieve the Goddess... Written by Rich Wannen

Tarzan goes to Guatemala to find his lost friend, D'Arnot. On the way he helps Major Matling search Mayan ruins for hidden jewels and an idol containing the formula for a powerful explosive. D'Arnot and the idol are rescued, but the idol falls into the clutches of the explorer Raglan.. . Written by Ed Stephan 

Cast  (Complete credited cast)
 Bruce Bennett ...  Tarzan (as Herman Brix)
 Ula Holt ...  Ula Vale
 Ashton Dearholt ...  P.B. Raglan (as Don Castello)
 Frank Baker ...  Maj. Francis Martling
 Lewis Sargent ...  George
 Harry Ernest ...  Gordon Hamilton [Chs. 1-4, 12]
 Dale Walsh ...  Alice Martling [Chs. 1-4, 12]
 Jiggs ...  Nkima the Chimp
 Merrill McCormick ...  Bouchart [Ch. 1] / Lopez [Ch. 10]
 Jack Mower ...  Ula's Companion [Ch. 1] / Capt. Simon Blade [Ch. 11]
 Earl Dwire ...  Expatriate Scientist [Chs. 8-10] (uncredited)
 Jackie Gentry ...  Queen Maya [Chs. 1-2, 12] (uncredited)

Filming Locations: Antigua, Guatemala ~ Chichicastenango, Guatemala ~ Lake Atitlan, Santiago Atitlan, Guatemala  ~ Tikal, Guatemala ~ Volcano Agua, Guatemala
Producers: Edgar Rice Burroughs, Ashton Dearholt, George W. Stout
Original Music: Mischa Bakaleinikoff   (uncredited)
Cinematography: Edward A. Kull, Ernest F. Smith
Film Editing: Harold Minter, Thomas Neff, Edward Schroeder, Walter Thompson
Art Direction: Charles Clague
Sound Department: Earl Crain Sr. (sound recordist)
Special Effects: Ray Mercer
Music Department: Mischa Bakaleinikoff (composer: stock music - uncredited, Abe Meyer (musical director - uncredited), Jean Talbot (composer: stock music - uncredited)
Other crew: Jackie Gentry and Tony Gentry - animal trainers: Jiggs
Runtime: 257 min (12 episodes) | Germany:61 min (part 1) Black and White ~ Aspect Ratio: 1.37 : 1 See more »
Production Companies: Burroughs-Tarzan Enterprises Inc.
Distributors: Burroughs-Tarzan Enterprises Inc. (1935) (USA) (theatrical) (states rights system) ~ Wotan-Filmverleih (1950) (West Germany) (theatrical) ~ Hollywood Classics (1995) (USA) (VHS)
Other Companies: Lyle E. Willey & Associates  sound recording

Click for full-size


Bruce Bennett

Herman Brix aka Bruce Bennett as Tarzan in Bryan's Drive-In Theatre
Herman Brix as Tarzan


Part 1: ERBzine 0584
Posters, Production Notes, Reviews, Bios, Photos
Part 2: ERBzine 0585
Ads, Stills, Press Book, Summary, Credits, Links
Part 3: ERBzine 0586
Lobby Cards, Ads & Synopses Episodes 1-6
Part 4: ERBzine 0587
Lobby Cards, Ads & Synopses Episodes 6-12
Part 5: ERBzine 0587a
Lobby Card Display I
Part 6: ERBzine 0587b
Lobby Card Display II
Part 7: ERBzine 0587c
Part 8: ERBzine 0587d
Lobby Card Display III 
Part 9: ERBzine 5042
Trading Cards
Part 10: ERBzine 7472
Lobby Card Display IV

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