Thursday, 8 March, 2012

The Gods of Mars (1913)

In A Princess of Mars, the object of academic curiousity and moral discomfort was Edgar Rice Burroughs uncritical recapitulations of race assumptions. The green Martians stand in as Native Americans and the red Martians serve as proxies of red-blooded Americans, all in the Wild West frontier of the Martian desert. Burroughs sets his sights on a new target in the second book of the Barsoom saga, Gods of Mars. This time, its religion.



After 10 years on Earth, Carter has returned to Mars, only to find himself in Barsoom's equivalent of the Elysian Fields. Technology is so advanced on Mars that the average lifespan is functionally infinite, save for the religious custom of making the one-way pilgrimage down the river Iss to the forested, edenic bosom of the goddess Issus. Martians are obligated to take this pilgrimage upon their 1000th birthday or when the mood strikes them, whichever comes first. None return, except for one in the distant past who spoke blasphemies and was duly executed.

Nevertheless, the heretic was correct. The land of expected unending glories was, in reality, the habitat of carnivorous plant-men and white apes whose mangled victims became the cuisine for the race of white Martians. This is not the true end of the line, however. These white Martians undertake their own pilgrimage to the city of Issus, whereupon they receive a nasty surprise of their own. Carter is dropped into this situation, forced to fight his way through unflinching horror with the prospect of death by Inquisition waiting for him if he makes it out alive.

Thankfully the first person he meets in his valley of death is Tars Tarkas, his Good Indian. He chose to take the pilgrimage in the first of the total happenstances that drive the story along. Burroughs has pulled out all the stops and done away with any vestige of shame. Every plot convenience is employed to thrust us into the next scene. Every person that Carter needs to see him along, from Tars Tarkas to Sola the green Martian to his red Martian bride Dejah Thoris to their son Carthoris, is just where they need to be by fruitful accident.

By employing such tactics, Burroughs ends up undermining his first attempt at a novel with philosophical depth. Indeed, literal cannibalism is used as a metaphor for how religious elites exploit their disciples... Yet I'm consumed by the fact that it's taking the characters several chapters to figure out that Carter has incidentally encountered his own son when I figured it out from the first paragraph in which they shared space. If I try to power through the distraction, well, a metaphor of literal cannibalism is really about all there is.

Worse yet, it is not only the philosophy of the novel but the narrative itself that suffers for Burroughs' easy ways out. When A Princess of Mars was published, Burroughs feared using his own name because it was so far out there. Compared to Gods of Mars, even that work of escapism is a study in restraint. Freed up by his fame with that and Tarzan of the Apes, Burroughs has cranked the Pulpiness to 11. Though intended to speed the action along without convolutions of sense or logic, these plot devices are distractions that bring attention to themselves.

Tuesday, 6 March, 2012

Disney's Original John Carter

The new, live-action John Carter is not Disney's first aquaintence with Edgar Rice Burroughs' Martian warrior. In the Man in Space trilogy episode Mars and Beyond, Ward Kimball opened the Barsoomian Dictionary to introduce audiences to the denizens of Burroughs' war-world.






Barsoomians, or the Red and Green Martians, short a few arms.


A Banth, or Martian lion.


A Calot, of a sort. One of the least accurate representations.


Thoat, or Martian horse.


A Martian plant-man.

Sunday, 4 March, 2012

VEx March Contest - Under the Moons of Mars



In celebration of the centennial of Edgar Rice Burroughs' John Carter series, March's giveaway will be for Bison Frontiers of Imagination's collected edition of the first three Carter novels: Under the Moons of Mars! This anthology of A Princess of Mars, Gods of Mars and Warlord of Mars includes and introduction by James P. Hogan and illustrations by Scott Beachler.

To enter, just leave a post in the comment section, and make sure there is some way to contact you through it. The draw will be at 12:00 am on Sunday, March 25!

Thank you again, one and all, for your continued support of Voyages Extraordinaires: Scientific Romances in a Bygone Age!

Thursday, 1 March, 2012

A Princess of Mars (1912)



I have been an aficionado of Edgar Rice Burroughs' writings for some time, enjoying both the Tarzan and the "Land That Time Forgot" series of Pulpy adventure novels. Though I strenuously objected to the critic who suggested that The Land That Time Forgot is more imaginative and generally superior to Sir Arthur Conan Doyle's The Lost World, the latter being my favorite novel of all time, I still find Burroughs to have an infinitely breezy and readable style.

Nevertheless, I had never gotten around to reading his Barsoom series beginning with A Princess of Mars. With all the hype surrounding the upcoming Disney adaptation, the perfect opportunity was upon me. A Princess of Mars (1912) begins a discrete trilogy continued in The Gods of Mars and concluding with The Warlord of Mars, both published in 1913. This will be the first in a series of reviews of the trilogy. Burroughs' Barsoom chronicles continue for another ten books, picking up from the heroic John Carter and following the exploits of his son.

Read in rapid succession, the Carter trilogy puts the exclamation on something about Burroughs' writing to which I was previously only dimly aware. I touched on it in my reviews of the Tarzan feature films starring Johnny Weissmuller, but it came out in full force through this cycle. That "something" was Edgar Rice Burroughs' attributes as a manufacturer of pure escapism devolving frequently into outright wish fulfillment.

It is de rigeur to criticize Stephanie Meyer for rendering up a platter of her "Mary Sue" fantasies for public consumption. I have to admit that I am impressed with the Machiavellian studiousness of the Twilight saga. A series of novels about a fairly mundane teenage girl who suddenly gets obsessive attention paid to her by tall, dark and handsome vampires as well as totally ripped wolfboys and later becomes, like, totally the best vampire ever is a licence to print money. Of the two I would certainly rather read Edgar Rice Burroughs, but he shows just the same aplomb with his planetary romances.

Tarzan has aspects of this, but they at least begin in a more subdued manner. Lord Greystoke (a lord!) is at the height of human strength and agility, is brilliant enough to teach himself English, gets to run around a jungle with abandon just being awesome, and is irresistible to women. He even gets to become a superspy. John Carter comes fresh out of the gate. First, you take what would be a fairly average soldier for the Confederacy and transport him to Mars, where decreased gravity and air pressure make him a veritable superman. He is just shy of being able to leap tall buildings in a single bound. He is utterly unbeatable, which eventually earns him the regard of all the warriors of Barsoom (Burroughs' name of Mars). Second, you let him and everybody else run around naked. Third, you make every hot, naked Martian woman fall at his feet. Of course Carter opts to claim the most stunningly beautiful woman of any world, Dejah Thoris the Princess of Mars, but he still enjoys the attention of a half-dozen gorgeous paramours.

Being escapism par excellence, Burroughs doesn't tend to clutter up his work with a self-critical or socially critical narrative. In A Princess of Mars this is seen most succinctly in his dealing with the question of race. In order to appreciate literature of the Victorian and Edwardian Eras, one must have a pretty thick skin anyways. However, it is not fair to say that all the literature was uniformly racist. There are degrees and examples which make it easier to choke down. For example, in 1912's greater Scientific Romance - the aforementioned Lost World by Conan Doyle - the worst thing that the haughty Professor George Edward Challenger has to say about the Natives of the dinosaur-riddled plateau is that they're no smarter than the average Londoner.

A Princess of Mars is not one of those books. Burroughs is utterly unconscious about his racial assumptions, to the tune of nearly quoting verbatim from the prevailing attitudes of his day. When Carter arrives on Mars, he falls in with the totally inhuman, four-armed, tusked, green martians. Also sharing Mars are the red-skinned race of perfectly humanoid martians (except that they lay eggs) to which Dejah Thoris belongs, and the races of humanoid black, white and yellow-skinned martians we meet in later books. Some episodes from A Princess of Mars illustrate the problems this arrangement make for issues of race.

The green martians have successfully conquered and driven off an expedition of red martian airships, having captured the incomparable image of feminine loveliness that John Carter fell instantly in love with. Sight unseen, Carter has already expressed feelings of sympathy for their evidently advanced culture: "The scene I had witnessed seemed to mark the defeat and annihilation of the forces of a kindred people, rather than the routing by our green warriors of a horde of similar, though unfriendly, creatures." Then he saw the red martian woman, and his heart was stirred by racial similarities. When the green martians bring her to trial, the following exchange occurs:
"What is your name?" asked Lorquas Ptomel, addressing the prisoner.

"Dejah Thoris, daughter of Mors Kajak of Helium."

"And the nature of your expedition?" he continued.

"It was a purely scientific research party sent out by my father's father, the Jeddak of Helium, to rechart the air currents, and to take atmospheric density tests," replied the fair prisoner, in a low, well-modulated voice.

"We were unprepared for battle," she continued, "as we were on a peaceful mission, as our banners and the colors of our craft denoted. The work we were doing was as much in your interests as in ours, for you know full well that were it not for our labors and the fruits of our scientific operations there would not be enough air or water on Mars to support a single human life. For ages we have maintained the air and water supply at practically the same point without an appreciable loss, and we have done this in the face of the brutal and ignorant interference of your green men.

"Why, oh, why will you not learn to live in amity with your fellows, must you ever go on down the ages to your final extinction but little above the plane of the dumb brutes that serve you! A people without written language, without art, without homes, without love; the victim of eons of the horrible community idea. Owning everything in common, even to your women and children, has resulted in your owning nothing in common. You hate each other as you hate all else except yourselves. Come back to the ways of our common ancestors, come back to the light of kindliness and fellowship. The way is open to you, you will find the hands of the red men stretched out to aid you. Together we may do still more to regenerate our dying planet. The granddaughter of the greatest and mightiest of the red jeddaks has asked you. Will you come?"

Sola, one of the few green martians who expresses what Carter considers human-like emotions, condemns her own society by comparing it with that of the red martians:
They live at peace with all their fellows, except when duty calls upon them to make war, while we are at peace with none; forever warring among our own kind as well as upon the red men, and even in our own communities the individuals fight amongst themselves. Oh, it is one continual, awful period of bloodshed from the time we break the shell until we gladly embrace the bosom of the river of mystery, the dark and ancient Iss which carries us to an unknown, but at least no more frightful and terrible existence! Fortunate indeed is he who meets his end in an early death.

In any other sense, this sort of characterization might be considered simple world-building, the establishment of a character for the denizens of Barsoom. Its similarity to European and Euro-American attitudes towards Native Americans, unfortunately, makes one's skin crawl.

An example of these prevailing attitudes can be found in Karl Pearson's National Life from the Standpoint of Science, a 1901 publication of his 1900 lecture to the Literary and Philosophical Society of Newcastle. Pearson, as evidenced by the illustrious organization which he address, was no fringe thinker. He became a Fellow of the Royal Society in 1896 for his work in mathematics, which in turn proved influential for Albert Einstein. He was also a devotee of Sir Francis Galton and a fervent eugenicist, being the first to hold the Chair of Eugenics at the University of London, a seat founded by Galton's bequest. It was only his Marxist beliefs that led him to refuse offers for both an Order of the British Empire and a knighthood.

What Pearson had to say was eerily echoed by Dejah Thoris:
I venture to assert, then, that the struggle for existence between white and red man, painful and even terrible as it was in its details, has given us a good far outbalancing its immediate evil. In place of the red man, contributing practically nothing to the work and thought of the world, we have a great nation, mistress of many arts, and able, with its youthful imagination and fresh, untrammelled impulses, to contribute much to the common stock of civilized man.

He adds "Against that you have only to put the romantic sympathy for the Red Indian generated by the novels of Cooper and the poems of Longfellow, and then - see how little it weighs in the balance!" Horace Greeley, writing in 1860, condemns the authors as well. After declaring that Native "arts, wars, treaties, alliances, habitations, crafts, properties, commerce, comforts, all belong to the very lowest and rudest ages of human existence" he says:
It needs but little familiarity with the actual, palpable aborigines to convince anyone that the poetic Indian—the Indian of Cooper and Longfellow—is only visible to the poet's eye. To the prosaic observer, the average Indian of the woods and prairies is a being who does little credit to human nature—a slave of appetite and sloth, never emancipated from the tyranny of one animal passion save by the more ravenous demands of another.

An 1869 New Mexico Supreme Court ruling judged that,
The idea that a handful of wild, half-naked, thieving, plundering, murdering savages should be dignified with the sovereign attributes of nations, enter into solemn treaties, and claim a country 500 miles wide by 1,000 miles long as theirs in fee simple, because they hunted buffalo or antelope over it, might do for a beautiful reading of Hiawatha, but is unsuited to the intelligence and justice of this age, or the natural rights of mankind.

Dejah also invoked President Theodore Roosevelt, who spoke of the Native Americans "whose life was but a few degrees less meaningless, squalid, and ferocious than that of the wild beasts with whom they held joint ownership."

President Andrew Jackson's 1830 message to Congress prefigures Pearson, and echos Burrough's characterization of the Tharks as inhabitants of the abandoned cities of a greater civilization:
In the monuments and fortresses of an unknown people, spread over the extensive regions of the West, we behold the memorials of a once powerful race, which was exterminated or has disappeared to make room for the existing savage tribes. Nor is there anything in this which, upon a comprehensive view of the general interests of the human race, is to be regretted... What good man would prefer a country covered with forests and ranged by a few thousand savages to our extensive Republic, studded with cities, towns, and prosperous farms, embellished with all the improvements which art can devise or industry execute, occupied by more than 12,000,000 happy people, and filled with all the blessings of liberty, civilization, and religion?

Even those with a more liberal mind still preferred the extinction of Native culture to the extinction of Natives themselves. President Ulysses S. Grant's 1871 State of the Union Address expressed the hope that
the policy pursued toward the Indians has resulted favorably...many tribes of Indians have been induced to settle upon reservations, to cultivate the soil, to perform productive labor of various kinds, and to partially accept civilization. They are being cared for in such a way, it is hoped, as to induce those still pursuing their old habits of life to embrace the only opportunity which is left them to avoid extermination.

And of "that horrible community idea" - which, incidentally, is an entirely sensible practicality of survival in a harsh, resource-poor environment like the plains of North America or the dead sea beds of Mars - Indian Affairs Commissioner John Oberly decreed that Native Americans "must be imbued with the exalting egotism of American civilization so that he will say ‘I’ instead of ‘We’, and ‘This is mine’ instead of ‘This is ours’."

Some attempt to laud Burroughs for creating a world of racial harmony, as the end has the red martians of the city-state of Helium join together with the green martians of Thark. They are, naturally, joined together under the auspices of John Carter. Being "good", the problem did not belong so much to the red martians. It was those pesky green martians and their violent, joyless society. The key figure is Tars Tarkas, a green martian with almost human-like emotional depth who befriends Carter and thus becomes the green martian leader. He becomes a Good Indian.

The remaining two volumes of the original John Carter trilogy move beyond race to deal with subjects of religion and society at large. They are subjects treated with the same nuanced perspective with which Burroughs treats the subjects in this classic study of escapism.

Tuesday, 28 February, 2012

The New Adventures of Tarzan (1935)

Tarzan is one of the most-filmed characters in cinema history, in the same echelons as Sherlock Holmes and Dracula. Not all of those renditions are entirely faithful to the source material, however. Though a few silent versions predated him, the film archetype of Tarzan was set by Johnny Weissmuller in 1932's Tarzan the Ape Man. Most versions since have done variations on that version. In 1984, Christopher Lambert played a revisionist version in Greystoke: The Legend of Tarzan and in 1999, Disney made an animated musical that graduated to Broadway.

The 1935 serial The New Adventures of Tarzan has perhaps the most accurate Tarzan. In fact, it would have been hard-pressed to be more accurate, as it was the only version of Tarzan plotted out by Edgar Rice Burroughs himself! Discouraged by thje silent film versions and MGM's monosyllabic brute, Burroughs jumped at the opportunity afforded him by his friend Ashton Dearholt to make a new Tarzan adventure. MGM's licence ran out after Tarzan and His Mate, and Burroughs had no intention of renewing it. Dearholt formed Burroughs-Tarzan Enterprises, Inc. with the goal of properly enshrining the authors characters. Burroughs himself outlined the story, the screenplay for which was adapted by Charles Royal and Edwin Blum.

The New Adventures of Tarzan is not an adaptation of any previously published novel. On the contrary, the involvement of Burroughs could induct it as a seamless new entry into the same canon of the novels. Herman Brix plays a leaner, literate Lord Greystoke lifted straight from the pages of Burroughs' writing. The 40-minute introductory chapter relates how Tarzan's friend D'Arnot - the man who found him in the jungle, taught him English and proved his status as a lord - has gone missing over Gutamala. He was part of an expedition to search for the Green Goddess, an ancient Mayan artifact being sought by Major Martling. Along with the expedition are Martling's daughter Alice, her fiance George Hamilton, and comic relief George. The Green Goddess is a rich prize, however, and Martling's notebook is stolen by rival archaeologist P.B. Raglan, played by Dearholt himself. Trailing Raglan with a mnind to revenge is Ule Vale, fiance of D'Arnot's deceased partner.

Perhaps more interesting than this 1935 serial full of the regular cliffhanging, two-fisted action is the story behind it. Dearholt moved the story to Guatemala because he knew the locale well-enough and had greased enough palms that he thought he could mount a cheaper production there than by renting studios in Hollywood. However, he ran out of money before he even started and Burroughs had to step in as a cosigner on a bank loan to send the production down. As one can well imagine, Guatemala in the 1930's was not the most ideal location to launch a full movie production. There was no port to speak of when they arrived, and no roads to speak of where they were going. Indoor plumbing was unheard of and tropical diseases ravaged the crew. Because Guatemala had no film industry, absolutely everything had to be brought from the United States and was unrecoverable when lashed by storms and rainforest humidity. It turned out that Dearholt overestimated the support he could muster from the government and the last few weeks of the four month production were spent dodging creditors in the jungles before escaping the country to finish in California.

Production was also made doubly-awkward by the relationship dramas unfolding behind the scenes. In 1933, Dearholt met Ula Holt, who would go on to play Ule Vale in The New Adventures of Tarzan. Falling in love, he carried on an affair that ended in divorce with his wife Florence Gilbert just before the crew departed for Guatemala. That worked out well for Burroughs, who had been harbouring an unrequieted love for Gilbert since the day he met her and Dearholt in 1929. While the film crew was off in South America, Burroughs and Gilbert were wed. To fund the wedding and subsequent honeymoon in Hawaii, Burroughs realized that he would need more money than Dearholt's serial could afford him. Thus he renewed the Tarzan license with MGM, who only paid him marginally better than they had for the dissatisfying Tarzan the Ape Man and Tarzan and His Mate.

The result of this love-quadrangle was that the Thirties were filled with competing Tarzans. Johnny Weissmuller would again star with Maureen O'Sullivan in Tarzan Escapes in 1936, preceded by the Tarzan the Fearless serial starring Buster Crabbe as the Ape Man in 1933, and The New Adventures of Tarzan in 1935. MGM did their best to buy off reviewers to trash the 1935 serial and manipulated theatre owners into refusing to play it on pain of not receiving prints of Tarzan Escapes.

To compete, Dearholt released his version in several formats. One was the 12-part serial, another was a 75 minute feature film and the third was a shorter feature followed by seven serial chapters. The last 10 episodes were also remade into the feature Tarzan and the Green Goddess. Altogether it was moderately successful, moreso overseas where MGM held less influence, and The New Adventures of Tarzan went down in history as the last Tarzan movie serial ever made.


The feature film version of The New Adventures of Tarzan.

Sunday, 26 February, 2012

VEx February Giveaway - Tarzan Comic Collection



In honour of Tarzan's 100th birthday, this month's giveaway is a set of three of Dark Horse Comics' reprints of Russ Manning's adaptations of Edgar Rice Burroughs' novels. These are Tarzan of the Apes, Tarzan and the Jewels of Opar, and Tarzan the Untamed, and for those who concern themselves with such things, they're all first editions dating back to the halcyon days of 1999 with covers by Mark "Cadillacs and Dinosaurs" Schultz. As an extra bonus, I'm throwing in an additional Russ Manning reprint by Dark Horse of the original story Tarzan in The Land that Time Forgot!

To enter, just leave a comment on this post that includes some method of contacting you should you win. The draw will be made at midnight on Sunday, Feb. 26th. Thank you everybody, once again, for your ongoing support of Voyages Extraordinaires: Scientific Romances in a Bygone Age!

And the winner is... Scott Conner! Check your inbox, Scott, for a message. And for the rest of you, thank you all for your ongoing support of Voyages Extraordinaires! Keep an eye out in another week for our next contest with another of Edgar Rice Burroughs' creations!

Thursday, 23 February, 2012

Disney's Tarzan and Jane (2002)



Through the late Nineties and into the Noughts, Disney became somewhat over reliant on direct-to-video films and sequels to their feature classics. This was, of course, a natural extension of the fact that the real profits of a movie are not gained at the box office but on the video shelves. As Kevin Smith once elaborated during one of his spoken word events, Hollywood executives only really care if you lose them money. What you see in the theatre is only a commercial for the silver disk they want you to buy a few months later, its gross income only a projection of DVD sales. In these waning years of Michael Eisner's reign as head of the company, Disney simply chose to dispense with the middle man.

With varying degrees of success, and to the great annoyance of parents, films such as Lady and the Tramp II: Scamp's Adventure, The Lion King 1 1/2, Cinderella 2, The Return of Jafar, Pocahontas II: Journey to a New World, The Little Mermaid II: Return to the Sea, Stitch: The Movie and a couple sequels that should have been direct-to-video, Return to Neverland, The Jungle Book 2 and some Winnie the Pooh films, but were released in theatres (no really, they were initially slated to be direct-to-video, but were thought relatively tedium-free enough to warrant feature film release). Thankfully a planned sequel to Snow White and the Seven Dwarfs was halted once John Lasseter took over as Disney's Chief Creative Officer after Pixar's -$7 billion buyout of Disney.

Disney sequel-making did not left their genre films untouched either, with two sequels continuing the stories of Tarzan and Atlantis: The Lost Empire. With the demise of Disney's feature film animation department, in favour of computer animation, the chores on this and every other Disney sequel were handled by the television department. And it shows. In fact, the sequel to Tarzan, dubbed Tarzan and Jane, is a compilation of unaired episodes from The Legend of Tarzan series that ran for 39 episodes and so far has not seen a full DVD release. Atlantis: Milo's Return also carries the distinct air of being a movie cobbled from what would have been three episodes of a series.

Unfortunately, this television quality doesn't seem to interpret the designs of Disney sci-fi animation very well. The angular style of Tarzan, Atlantis and even Treasure Planet (which blessedly has not endured a sequel) looks quite good on the big screen with plenty of money thrown at it. On the small screen, done for budget, it looks choppy and poor. This is an especially bad criticism given the high quality of television animation to be found on Saturday morning the last twenty years, from the initial 65-episode run of The Batman Adventures to Mike Young Productions new version of He-Man and the Masters of the Universe and the current anime version of Thundercats. Put next to these, The Legend of Tarzan looked pretty bad, let alone compared to the film.

That said, a DVD collection of the full series would have been a better thing than the compilation of scenes that went into Tarzan and Jane. Though the animation left much to be desired, the series gained substantial points in its adaptation of elements from the original Edgar Rice Burroughs novels. Tarzan and the Jewels of Opar was more or less adapted for the series, as was Tarzan at the Earth's Core. One episode even paid tribute to the original Tarzan films with Johnny Weissmuller and Maureen O'Sullivan, as the crew of the fictional film "Jungle Man" took to Tarzan's rainforest.

Unfortunately, Pellucidar and other really decent concepts that Disney utilized, such as the lost city of Opar, are missing from the episodes grafted in to Tarzan and Jane. Instead, three more or less uneventful episodes comprise this hour and fifteen minute retrospective of Tarzan and Jane's first year together, on the date of their anniversary. First a flashback to a trio of Jane's friends from England serve as a reminder that Tarzan wouldn't like an anniversary party. Then a run-in with a pair of diamond seeking ne'erdowells reminds Jane that Tarzan wouldn't be too keen on giftgiving. Finally, a former paramour of Jane's turned British double-agent brings up how Tarzan wouldn't care for dancing either. How will Jane be able to celebrate her anniversary?

The choice of episodes used does make a certain internal sense, even if they are not the most immediately appealing ones to have used. I'm sure the leopard-men of Opar and the velociraptors of the earth's core would have gone a lot farther with kids and adult Burroughs geeks like myself. Another disservice is done by the lack of explanation in the film. Anyone who followed the series will know who these characters appearing out of nowhere in Tarzan and Jane are... Dumont the French trader (presumably a corruption of D'Arnot from the novels) and a pair of Foreign Legionaires. From the film, there is no clue or background given. The astute viewer will also notice the inconsistency between WWI-era biplanes, the date of establishment for Dumont's business as 1912, and the constant references to the Queen of England.

Just to make sure that no opportunity was missed, a Tarzan II was also released directly to video. This filled in an unnecessary gap in young Tarzan's life and further confounded a wager between myself and a friend. We bet that a Tarzan sequel or series would be either the continuing adventures of adult Tarzan or a retrospective of child Tarzan. They did both and we called it even. Despite having new songs by Phil Collins, it falls into the same trap that any "prequel" to a story with a strong character arc does. We're stuck with a Tarzan that is less interesting because he's still opining about not belonging while learning lessons that retread and, consequently, subtly undermine the original film.