A trader and his daughter set off in search of the fabled graveyard of the elephants in deepest Africa, only to encounter a wild man raised by apes. Casts: Bo Derek, Richard Harris, John Phillip Law, Miles O'Keeffe, Duration: 107 min. With Johnny Weissmuller, Neil Hamilton, C. When the expedition is captured by savages, Tarzan comes to the rescue. De Mille, William Dieterle and Robert Rossen) and a few great ones (Otto Preminger, Nicholas Ray and Don Siegel) but he clearly learned zilch from them as his direction of this one is a major liability: appallingly pretentious at times (witness the perfectly horrid python attack sequence) with a senseless overuse of the slow motion technique and cheesy transitions this was Derek’s seventh film as a director (and his second of four with wife Bo) and, eventually, he would only get to make two more. A couple of brief encounters with Tarzan establish a (sexual) bond between her and Tarzan. When still an actor, director John Derek (who also serves as his own cinematographer here) had worked with some good film-makers (Cecil B. When the expedition is captured by savages, Tarzan comes to the rescue. Lead actress/producer Bo Derek is rather ridiculous playing the schoolgirl-ish sexual innocent (witness the inept banana scene) and, as was to be expected, she is made to get her clothes off a few times but, as welcome as these scenes were, she came off as far more sensual in 10 than she does here Richard Harris, then, chews the scenery incessantly as Jane’s obsessed explorer father, but John Philip Law barely registers as his aide who meekly shows some initial interest in Jane herself newcomer Miles O’Keeffe has the title role and he only makes his entrance 45 minutes into the movie, is completely silent throughout except for his famous yodel (which is probably lifted from Johnny Weissmuller anyway!) and, furthermore, is as inexpressive as one of the trees he dangles from at regular intervals throughout the film’s second half! for the record, he later starred in two ATOR movies (or would-be CONAN imitators) for Joe D’Amato and the King Arthur-era set, SWORD OF THE VALIANT (1984).
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Surely one of the most ill-advised remakes of a classic in film history – especially since the promise of its tag-line, “The most beautiful woman of our time in the most erotic adventure of all time”, isn’t even properly exploited! Although this film was regularly shown on TV in my neck of the woods since my childhood days, its notoriety (for awfulness not erotic content, mind you) kept me away from it until now – and I only relented because I have recently enjoyed Bo Derek’s previous film, 10 (1979), and have been watching a lot of fantasy stuff as well over the Christmas period.