Pacionsbo Absolutely Fantastic

Chirphymium It's entirely possible that sending the audience out feeling lousy was intentional

Paynbob It’s fine. It's literally the definition of a fine movie. You’ve seen it before, you know every beat and outcome before the characters even do. Only question is how much escapism you’re looking for.

Francene Odetta It's simply great fun, a winsome film and an occasionally over-the-top luxury fantasy that never flags.

blumdeluxe "The Savage Girl" tells us the story of a rich man financing an expedition into the African jungle to hunt down animals for his future zoo. During this trip, the men are confronted with a white jungle goddess and start to fight over her.The movie is all in all quite boring. There is no real climax or anything and what happens is already very foreseeable from the very beginning. We have a shining hero, an innocent but handsome wild woman and a barbaric antagonist. We have a bunch of the stereotypes that are typical for this period and we have a goddess that manages to wear make-up despite growing up under wild animals somewhere in the jungle. It is no secret that she probably is also supposed to be of erotic value, too. Unfortunately, all this doesn't really add up in the end and what remains is barely more than the idea of a female Tarzan. Though I appreciate that the movie praises respectful behaviour towards women in a way, it is a bit odd how the female protagonist is not curious but rather begging for physical contact.All in all this is one of the movies that didn't hold the test of time. You won't miss it if you didn't see it but you can, of course, come to a different conclusion if you're very interested in this kind of stories.

Leofwine_draca THE SAVAGE GIRL is an early jungle adventure outing put out in 1932 just after the advent of the talkies. It doesn't really feel as old as it is, looking and feeling more like a 1940s programmer than a film made this early. The simplistic story is little more than a gender twist variant on the old Tarzan story, with plot elements that creak from overuse.A bunch of characters decide to head into the African wilds in order to get some game for a millionaire's zoo. One of them tries to show his progressive attitudes by saying he's never killed an animal that didn't attack him first (big deal). The comic relief drunk character is a good addition to the mix.On arrival in Africa, they're confronted by endless stock wildlife scenes of leopards, chimpanzees, and elephants, and also the titular character, who randomly has a full face of make up despite never having encountered man before. Not much happens other than characters wandering around to waste time, although the titular character's appearance is quite racy for the era.

mark.waltz When a drunk, a white mouse, and an elephant get more amusement than a scantily clad jungle girl (on whom the film is named after), you know what kind of film you are in for. Rochelle Hudson gets to scream more than any heroine in a Bela Lugosi film here, dealing with the nefarious intentions of sleazy looking Adolph Milar while being rescued by rather portly hero Walter Byron. Milar comes from the Tod Slaughter/Snidely Whiplash school of acting, and fortunately only has minimal screen time. In the meantime, there is stock jungle footage of natives and various wild animals (used over and over), as well as drunken Harry Myers' experiment of finding out if white mice will scare elephants is true. This brings out a few amusing moments. Of interest, I did find out from one source that elephants may be afraid of mice because they are afraid of them running up their trunks and causing them to smother to death. (Talk about the phrase "Junk in your trunk!") Hudson isn't really all that interesting as eye candy here. Maureen O'Sullivan had nothing to worry about, nor did the thousands of others used in "Tarzan" rip-offs such as "Hollywood Party" (Lupe Velez) and "So This is Africa!" (Raquel Torres). While she would go on to better things, this was not a distinguished way to start a career. Other than screaming, her entire dialog consists of repeating words that Walter Byron says in an effort to communicate with her. While you can't really expect all that much out of these "Z" grade films of the 30's and 40's, sometimes you find a gem or something good enough to make them memorable. It's sad to say that a drunk, a white mouse, and an elephant do not have enough screen time to make that the case in this film.

Gary Imhoff African explorer Jim Franklin is hired by perpetual drunkard and eccentric millionaire Amos P. Stitch on a whim, to capture animals to stock a private zoo on his Westchester estate. On the way to Africa they pick up a London cabbie and his cab to drive Stitch on the safari, and in Africa they hire Alex Bernouth, a German jungle guide, and Oscar, a Harlemite who wants to get back to New York.Their expedition is observed by The White Goddess, a white jungle girl who warns the animals against being captured and releases the animals they do capture. They catch her by luring her with a shiny object -- a hand mirror -- and the expected complications ensue. Meanwhile, Stitch conducts an experiment with an imported white mouse to see whether elephants in the wild are really afraid of mice.Low-budget writer, director, and producer Harry L. Fraser worked on a number of similar jungle, gorilla, and white-orphans-raised-by-animals pictures from the 1920's through the 1940's, but none of the others had Rochelle Hudson swinging from vines. This may have been a cut-rate, opposite-sex version of Tarzan the Ape Man, which was made the same year, but it's fun on its own terms.