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Derring-do, heroic acts of strengths and dogged sacrifice in the name of true love. The beautiful cinematography captures the emotional heart of the classic landscapes. It’s remarkably successful in evoking Burrough’s signature brand of adventure. The story involves the requisite kidnapping and subsequent rescue of Jane. Rom, for his part, is obsessed with obtaining the legendary diamonds of Opar, held by a tribal war chief with a blood grudge against Tarzan. Waltz may risk typecasting with yet another charming villain role, but doesn’t disappoint. He fears that the Belgians, led by the king’s envoy, Leon Rom (Christoph Waltz ), have reinstituted the slave trade to pay the crown’s debt. Tarzan is convinced to accept the king’s invitation by George Washington Williams (Samuel L.
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The well-known notes of the story are all struck. The tree house, the death of his mother after his birth, the death of his father at the hands of the ape, Kerchak, and his subsequent adoption by the ape, Kala. It’s an effective piece of storytelling, but may disappoint fans hoping for the depth of Burrough’s original narrative. He’s declined an invitation to return to Africa by Belgian King Leopold, who now has control of the Congo.Ī simplified version of his childhood is told through flashbacks. He and his lady, Jane (Margot Robbie ), are living a quiet – perhaps too quiet – life on his vast estate outside London. Tarzan (Alexander Skarsgård ) has made the transition to John Clayton, Lord Greystoke and has taken his rightful place among English nobility. This current adaptation solves many past problems by all but eliminating the well – if wrongly – known origin story. It held promise, but failed to capture Burrough’s sense of grand, high adventure. 1984’s ungainly titled “Greystoke: The Legend of Tarzan, Lord of the Apes” may have been the most faithful adaptation to appear, but was sadly dark and joyless.
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Other versions, such as the forgettable 2013 animated film “Tarzan” and the quickly cancelled 2003 TV Series , brought the character to modern times while doing little else of interest. 1981’s “Tarzan the Ape Man” was a hot mess of oversexed melodrama. A characterization that’s since been parroted repeatedly by hollywood.ĭisney’s 1999 “Tarzan” may be the best known version today, but was even more simplistic than Weissmuller’s. Fans of Edgar Rice Burroughs Tarzan stories have a rough row to hoe with modern interpretations of the character. Johnny Weissmuller’s primitive portrayal in the 1930’s set specific, but utterly incorrect, expectations of a grunting man-brute.