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There is a vaguely developed menace towards the end where Bo Derek is captured by a pygmy tribe who strip her naked and paint her body white but everything else is centred around the location scenery and BoвЂ™s naked body. There is one laughable scene where Miles OвЂ™Keeffe pretends to wrestle a rubber snake in the water in slow motion that goes on and on for several minutes and looks completely unconvincing. Publicity shot вЂ“ Tarzan (Miles OвЂ™Keeffe) and Jane (Bo Derek) swinging on a vine

There is barely even any action вЂ“ Tarzan never gets to engage in any of his customary vine swinging. There is almost nothing that happens in the film вЂ“ no drama, no story, nothing. Appreciation of Bo DerekвЂ™s figure aside, Tarzan the Ape Man quickly lapses into tedium. The only thing that ruins everything is an overblown score that keeps trying to pump routine scenes like Bo and Miles OвЂ™Keeffe meeting in the surf up into something monumental even when the epic flourishes of the soundtrack are not matched by the ordinariness of the happenings on the screen.ДЄlmost from the opening image where the roar of MGMвЂ™s trademark lion is replaced by the famous Tarzan yodel, Tarzan the Ape Man 1981 gives indication that it is no longer treating the Tarzan film seriously. There is a replaying of the scene from the 1932 film where Johnny Weissmuller and Maureen OвЂ™Sullivan play together in the water but here it becomes about the virginal Bo Derek discovering eroticism. Like the early nudie films, there is the pretence that it is about nature, not about sexuality, and comes accompanied by an almost utopian belief that being in nature freed from the constraints of clothes equates with pure bliss. Where Tarzan the Ape Man (1932), on which this film is closely modelled (see below), has coy and sweetly charming romanticism to it, this is more like a dreamy nudie film where it feels as though all of Africa is an Edenic playground for the two characters to freely romp. As a result, the scenes of Bo Derek and Miles OвЂ™Keeffe romping around naked have a natural freeness to them. It is perhaps the one Tarzan film that determines to make a virtue of the locations. If nothing else can be said about John Derek as a director, he at least produces a beautifully photographed film (which John also conducted). The entire focus of the film is on Bo and providing cursory scenes that give her almost any opportunity to shed her clothes. He is portrayed as the most musclebound and primitive of all screen Tarzans вЂ“ the film never even deigns to offer any explanation of what he is doing in the jungle. Even the filmвЂ™s poster consists of Bo swinging through the jungle on a vine with Tarzan nowhere in sight. Tarzan does not appear until halfway through the film and has no dialogue when he does.

For one, it is a misnomer to call it a Tarzan film вЂ“ it should have been called Jane. Tarzan (Miles OвЂ™Keeffe) and Jane (Bo Derek)ДЄlas, the film they produced is a ludicrously empty bore. This allowed them to go to Sri Lanka to shoot, which does afford some lavish location photography. The Dereks managed to obtain a then modest $6.5 million budget for the film. To say that Tarzan the Ape Man, the DereksвЂ™ take on Edgar Rice BurroughsвЂ™ Tarzan of the Apes (1912), is their best film and Jane the best written role that Bo Derek ever had is no particular recommendation. The expression on her face throughout these films is entirely vacant. The films are abysmal, made all the more so by BoвЂ™s phenomenal lack of acting talent and their being sold around the premise of her willingness to shed her clothes at the drop of a hat. All of these were founded on Bo Derek undressed вЂ“ nothing else. Each of these was worse than the last, including the excruciating likes of Fantasies (1981), Bolero (1984) and Ghosts CanвЂ™t Do It (1990). He put Bo through four films beginning with Tarzan the Ape Man here. John used the springboard of BoвЂ™s newfound celebrity to launch his own career as a director. This was managed by her husband John Derek, a former actor who was thirty years her senior. It was also at this very instant of BoвЂ™s success that her career began to plummet. Bo DerekвЂ™s supporting role in the film catapulted her to become an instant worldwide sex symbol. Bo came to fame in 10 (1979), a Blake Edwards comedy where Dudley Moore plays a man going through a midlife crisis who becomes fixated on her. Bo Derek was one of the genuine no-talent phenomena of the era. In the 00s, there was Paris Hilton in the 1990s, there was Pamela Anderson in the early 1980s, the equivalent was Bo Derek.

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