I must have been about 12 years old when I first saw Tarzan and His Mate. I loved the Tarzan movies. Tarzan was the undisputed King of the Jungle and was the greatest, Cheetah was man’s best friend, Boy was annoying, and Jane was the Queen of the Jungle and a young male’s introduction to the allure of the female. The uncensored version, with a naked Jane silhouetted while changing clothes in a backlit tent and the spectacular underwater ballet scene would have been a revelation to me; Tarzan and Jane are frolicking in their favorite swimming hole, Tarzan in his usual loincloth and Jane naked – not naked from the waste up, or presumed naked as they hid her behind some lake flora or rocks – Jane was naked.
Madam Satan
Most film fans knowledge of Pre-Code Hollywood movies doesn’t go much further than King Kong, Frankenstein, and a few other titles.
Madam Satan
Most film fans knowledge of Pre-Code Hollywood movies doesn’t go much further than King Kong, Frankenstein, and a few other titles.
- 1/31/2014
- by Gregory Small
- CinemaNerdz
Above: Richard Dix in Hell's Highway.
Rowland Brown (born with the appealing first name of Chauncey), was an interesting, almost unique filmmaker of the early thirties, who made three films. In those days, when it was a matter of principle that directors should not write, nor writers direct, and that writers, in Preston Sturges' words, "should work in teams, like piano movers," Brown was an honest-to-God hyphenate, writing and directing three two-fisted pre-code thrillers, Quick Millions, Hell's Highwayand Blood Money.
There was Chaplin, of course, a living exception to nearly every industrial practice of the age, but Brown's entire directing career occurred during the lull between City Lights and Modern Times. Brown wrote (albeit sometimes with collaborators) and directed, and his films have a strong sense of their maker's personality: tough, even brutish, with a hard-bitten and cynical sense of humor, and a frankness about human nature and sexual foibles,...
Rowland Brown (born with the appealing first name of Chauncey), was an interesting, almost unique filmmaker of the early thirties, who made three films. In those days, when it was a matter of principle that directors should not write, nor writers direct, and that writers, in Preston Sturges' words, "should work in teams, like piano movers," Brown was an honest-to-God hyphenate, writing and directing three two-fisted pre-code thrillers, Quick Millions, Hell's Highwayand Blood Money.
There was Chaplin, of course, a living exception to nearly every industrial practice of the age, but Brown's entire directing career occurred during the lull between City Lights and Modern Times. Brown wrote (albeit sometimes with collaborators) and directed, and his films have a strong sense of their maker's personality: tough, even brutish, with a hard-bitten and cynical sense of humor, and a frankness about human nature and sexual foibles,...
- 10/14/2010
- MUBI
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