Tarzan is a movie about a man who grew up in the jungle and doesn’t know he is human. That simple setup carries a lot of weight in Disney’s 1999 animated feature, and the film mostly earns it through sheer craft rather than deep character work. It is a technical triumph with a hollow center, a spectacle that knows exactly what buttons to push without spending much time figuring out why those buttons matter.
The story follows Tarzan, voiced by Tony Goldwyn, who was raised by gorillas after his parents died in a shipwreck. He thinks he is a gorilla until a group of humans, led by Kerchak the ape leader, voiced by Glenn Close, arrives in the jungle. Among them is Jane Porter, voiced by Minnie Driver, a scientist who wants to study the apes. Tarzan falls for her, but his world splits apart when he learns his true nature and the humans want to exploit the jungle for profit.
Trailer, via retro VHS trailers.
The Voice Cast
The voice cast sells the film’s emotional beats more than any plot twist could. Tony Goldwyn brings a rough, instinctive quality to Tarzan that feels genuinely animal, while Glenn Close’s Kerchak is a terrifying presence even when she isn’t roaring. Minnie Driver plays Jane as wide-eyed and curious, and her chemistry with Goldwyn is the film’s best asset. She is the reason Tarzan works at all.
“Kerchak! I am Tarzan!”
That line, delivered by Close, captures the film’s central tension. It is a command, a warning, and a refusal all at once. Kerchak is terrified of humans because humans killed her mate. Tarzan, having spent his life among apes, does not understand this fear until he sees it up close. The scene where Kerchak attacks Jane is brutal and effective, and it sets the stage for the film’s final act.
The Animation
The animation is the reason people still talk about Tarzan. The jungle itself is rendered with astonishing detail, from the leaves to the water to the light filtering through the canopy. The movement of the characters is fluid and expressive, and the action sequences are thrilling without ever losing clarity. This is a film that understands the power of visual storytelling, and it uses that power to full effect.
The film’s opening sequence, set to Phil Collins’ “You’ll Be in My Heart,” is a masterclass in establishing a world. We see Tarzan as a child, swinging through the trees, before the adults arrive. The music swells, the colors shift, and we are immediately invested in this boy’s fate. It is a perfect introduction to the story, and it sets a standard that the rest of the film occasionally fails to meet.
The Music
Phil Collins provides the songs, and they are a mixed bag. “You’ll Be in My Heart” is the standout, a gentle ballad that captures the film’s emotional core. “Son of Man” is a driving anthem that works well in context but doesn’t hold up outside of it. “Strangers Like Me” is forgettable, and “Trash” is a strange, comic number that feels out of place in a film about tragedy. The score, composed by Mark Mancina, is more effective, carrying the emotional weight of the story without leaning on lyrics.
The songs are not the film’s weakness, but they are not its strength either. They are competent, pleasant, and occasionally powerful, but they don’t elevate the material the way the animation does. The film’s best moments are silent, and the music often gets in the way of the story rather than enhancing it.
The Plot Holes
The film’s biggest problem is its logic. Why does Tarzan not know he is human? Why does he not ask the apes about his past? Why does he fall in love with Jane so quickly? These questions are never answered satisfactorily, and the film leans on romance to fill the gaps. It is a convenient solution, but it feels lazy.
There is also a political subplot involving Clayton, a hunter played by Wayne Knight, who plans to capture the apes for profit. This thread is interesting in theory, but it is underdeveloped in practice. The film spends more time on Tarzan’s relationship with Jane than on the broader conflict, which makes the climax feel rushed and unsatisfying.
The Romance
The romance between Tarzan and Jane is the film’s emotional core, and it is handled with care. Their scenes together are tender and funny, and the film trusts the audience to feel the connection without spelling it out. It is a rare moment of restraint in a medium that often overexplains everything.
But the romance also becomes a crutch. When the film needs to resolve its conflicts, it turns to the couple’s feelings for each other rather than to the larger stakes. This is a structural issue, not a flaw in the performances, and it is a problem that keeps Tarzan from being a great film.
The Final Act
The climax is ambitious, with Tarzan facing off against Clayton and Kerchak fighting to protect her family. The action is intense, and the animation delivers some of its best work in these scenes. But the resolution is rushed, and the film ends before it fully resolves its themes. It is a strong ending, but it is not a complete one.
The film’s final image is of Tarzan and Jane walking hand in hand through the jungle, with the apes watching from a distance. It is a peaceful moment, but it feels like a pause rather than a conclusion. The film raises questions about identity, belonging, and the nature of humanity, but it never quite answers them. It leaves the viewer satisfied on a surface level but hungry for more depth.
The Legacy
Tarzan is a flawed but enjoyable film. It is a technical marvel with a weak script, a beautiful score with mediocre songs, and a romance that carries the emotional weight of the story. It is not a masterpiece, but it is a solid entry in the Disney canon, and it remains a popular watch for audiences of all ages.
The film’s influence can be seen in later animated features, particularly in how they handle character design and world-building. Its lush jungle setting and its focus on animal behavior have become standard tools in the industry. But the film’s reliance on romance over substance has also been criticized, and it remains a cautionary tale about the dangers of prioritizing spectacle over storytelling.
The Verdict
Tarzan is a film that is better to look at than to think about. It is a beautiful, technically brilliant piece of animation that tells a story that is too thin to support its ambition. It is a film that will be remembered for its visuals and its music, but not for its ideas.
It is a film that deserves its reputation as a classic of the genre, but it is not a flawless classic. It is a film that is worth seeing, but it is not a film that demands multiple viewings. It is a film that is fun, but it is not a film that is profound.
| Element | Strength | Weakness |
|---|---|---|
| Animation | Stunning, expressive | None |
| Voice acting | Strong, committed | None |
| Music | Mixed, with highlights | Underwhelming |
| Plot | Ambitious, visually exciting | Underdeveloped, rushed |
| Character development | Surface-level | Shallow |
Tarzan is a film that is worth watching, but it is not a film that demands multiple viewings. It is a film that is fun, but it is not a film that is profound. It is a film that is beautiful, but it is not a film that is meaningful. It is a film that is enjoyable, but it is not a film that is essential.
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