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Tarzan in Manhattan

Tarzan in Manhattan

1989

Director

Michael Schultz

Runtime

94 minutes

Average Rating

No ratings yet

Synopsis

The ape man flies to New York, where cabby Jane and her father help him rescue Cheetah from a madman.

Where to Watch

Diversity & Representation

Overall Score

3.9/10

Limited


Category Breakdown

LGBTQ+ Representation

Minimal

The film lacks LGBTQ+ characters or non-heteronormative identities. Romantic dynamics are strictly centered on the heteronormative relationship between Tarzan and Jane.

Gender Representation

Fair

Jane is reimagined as an independent cab driver with professional autonomy. While she possesses more agency than traditional versions, Tarzan remains the primary physical driver of the plot.

Racial & Ethnic Diversity

Limited

The Manhattan setting presents a largely homogeneous social sphere. The narrative lacks significant racial diversity or intentional efforts to disrupt historical casting norms.

Religious & Cultural Diversity

Fair

The story uses a nature versus civilization framework to critique urban artificiality. However, it avoids deep systemic deconstructions of class or Western institutional structures.

Disability Representation

Minimal

There is no evidence of characters with visible or invisible disabilities playing central roles in the narrative.

Strengths

  • Jane is portrayed with significant agency and professional autonomy as an urban cab driver.
  • The film subverts the traditional 'damsel in distress' archetype through Jane's active role.

Areas for Improvement

  • The narrative lacks significant racial diversity within its Manhattan setting.
  • There is a lack of representation for LGBTQ+ identities or non-heteronormative characters.
  • The film misses opportunities to explore systemic class or institutional power dynamics.

AI Analysis

Tarzan in Manhattan functions primarily as a standard adventure film that prioritizes environmental contrast over identity-based exploration. It succeeds in modernizing Jane, moving her away from the passive 'damsel' trope by giving her an urban, professional identity. However, the film remains limited by its adherence to traditional tropes. The racial and cultural landscapes are relatively homogeneous, focusing on the 'fish out of water' experience rather than intersectional or systemic social critiques. Ultimately, while the characterization of Jane offers a progressive update to the mythos, the film lacks the intentionality needed to engage with broader social or diverse themes.

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