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4.8/10
Senior Film Conservator
A definitive 4.8/10 rating for a film that redefined the boundaries of cult cinema. Tarzan the Fearless remains a cornerstone of transgressive art.
Look, Tarzan the Fearless is not going to win any awards today. But if you’ve got a soft spot for really old adventure serials, the kind where the acting is… well, *earnest*, and the jungle sets look suspiciously like someone’s backyard, then maybe, just maybe, you’ll get a kick out of it. Anyone else, especially if you’re expecting something fast or deep, you’ll probably want to skip this one entirely. It’s a curiosity, not a masterpiece. 😅
The premise is classic serial stuff: a lost explorer, a plucky daughter, and a jungle full of danger. Mary Brooks’ father goes missing while poking around ancient tribes, and wouldn't you know it, he gets nabbed by the followers of Zar, the so-called god of the Emerald Fingers. Immediately, you know you’re in for some silliness. And honestly, that’s part of the fun.
Buster Crabbe as Tarzan is… interesting. He’s got the physique, no doubt about that. But his Tarzan feels a little more like a bodybuilder on vacation than the wild, untamed king of the jungle. He moves with a certain stiffness, especially when he’s not swinging. The famous yell is there, of course, a little rough around the edges, but it gets the job done.
The whole 'Emerald Fingers' cult is the absolute highlight of the movie for me. It’s so wonderfully bizarre. The High Priest of Zar, played by Edward Woods, is trying his best to look menacing, but it’s hard to take seriously when his god’s primary identifier is… glowing green fingers. You almost want to laugh, but the film is playing it completely straight, which makes it even better. There’s a scene where they’re performing a ritual, and the 'emerald fingers' glow effect looks like someone just shined a green flashlight on some fake gems. It’s charming in its cheesiness. ✨
Mary Brooks, played by Julie Bishop, is mostly there to be rescued. She spends a good chunk of the film looking worried, or getting caught. It’s a product of its time, I suppose. Tarzan, naturally, is always there to swoop in, or at least clunkily walk in, and save the day. Sometimes he just pushes people out of the way, which works.
The action sequences are what you’d expect from a 1930s serial. Lots of wrestling, a few punches that clearly don't connect, and a whole lot of running through the same few bits of jungle set. The animal scenes are a mixed bag. You get some stock footage of real animals, then suddenly, there’s a guy in an ape suit wrestling Tarzan. The ape suit is… something else. It makes you appreciate the dedication to putting an ape in every scene, even if it’s clearly not a real ape.
One detail that sticks with you is the credit for 'Jiggs' as the chimpanzee. Jiggs is great! He’s probably the most natural actor in the whole thing. His reactions feel more genuine than some of the humans, honestly. It’s a tiny thing, but it made me smile every time Jiggs was on screen.
The pacing, being a serial, means it feels like a series of short, mostly unrelated mini-adventures stitched together. Each chapter ends on a cliffhanger, of course, but the resolutions often feel a little too easy. You can almost feel the filmmakers going, "Okay, how do we get out of this one *quickly* for next week?" It’s less about intricate plot and more about continuous, low-stakes peril. Like a Saturday morning cartoon, but for adults back then.
The dialogue is often very direct, sometimes clunky. Nobody's delivering Shakespeare here. It's more like: "He's got my father!" "We must follow!" "Tarzan help!" You get the picture. It keeps things moving, I guess, but it doesn't leave much room for character depth. Which is fine for what it is.
There's a moment near the end where Tarzan just sort of… decides to take Mary to his cave. It’s so sudden, after all the running around and fighting. It felt a little abrupt, like they needed to wrap up the romance angle in about thirty seconds flat. But hey, it's Tarzan, he just *does* things. You can't argue with that logic.
Ultimately, Tarzan the Fearless is a relic. It’s not great filmmaking by today’s standards, or even by many of its own time. But it has a certain charm. It’s a testament to the early days of adventure serials, full of innocent thrills and some wonderfully goofy moments. If you go in expecting a straightforward, no-frills, old-fashioned jungle romp with a villain obsessed with green fingers, you might just find something to enjoy. Just don't expect too much. 😉
IMDb —
1919
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