Come on, Tarzan: A Horse-Heavy Western That's Mostly Just Fine

Is it worth your time?

If you like old black-and-white westerns where the hero has a better relationship with his animal than the rest of the cast, then yeah, sure. If you get bored by slow-moving plots or grainy film stock, maybe skip this one. It is definitely for the crowd that appreciates a simpler time in cinema history.

Ken Maynard is, as always, the kind of guy who just looks like he belongs on a horse. He’s not doing any Shakespeare here, but he has that quiet, intense stare that makes you believe he’d actually fight an entire town for a pony. Tarzan, the horse, actually carries quite a few scenes. There’s a specific bit where the horse just looks at the camera while the humans are arguing, and I swear he had more charisma than half the guys in the gang.

Cinematic perspective: Exploring the visual vocabulary of Come on, Tarzan (1932) through its definitive frames.

The plot about the rustlers is pretty thin. It feels like the writers just needed an excuse for people to chase each other across the desert for an hour. Frazier and his group are the typical mustache-twirling types, but they lack that spark you find in something like Let's Go, Gallagher. It’s all very straightforward.

There is this one moment in the second act where a chase scene goes on for way too long. The riders are just going in circles, and I think I counted the same cactus twice. It reminded me a bit of the pacing issues in Artless Artie, where you just want things to get to the point already. 🐴

Cinematic perspective: Exploring the visual vocabulary of Come on, Tarzan (1932) through its definitive frames.

The sheriff is easily convinced, which is a bit of a stretch even for a movie like this. One second he is a reasonable guy, and the next he is calling for a horse to be shot because some guy in a hat told him to. It’s funny how easily the law bends in these pictures.

Odd bits I noticed:

• The dust. There is so much dust. I felt like I needed a glass of water just watching it.
• The dialogue is mostly just people shouting orders at each other while riding fast.
• The background extras in the saloon look like they are just waiting for lunch.

It’s not trying to be a masterpiece. It just wants to tell a story about a man and his horse. Sometimes that is exactly what you need on a Tuesday night. It feels honest, if a bit worn out around the edges, much like the scenery itself. 🤠

Compared to the emotional weight of The Enchanted Cottage, this is pure popcorn. Don't expect to have your heart broken. Just enjoy the ride.