Whether Burroughs actually wrote such a scene is debatable. It feels too psychologically nuanced for the pulpy, action-driven style of the 1920s and 30s.
Tarzan-X: Shame of Jane is the brainchild of Italian director Aristide Massaccesi, better known by his pseudonym Joe D’Amato. D’Amato was a prolific and wildly eclectic filmmaker, known for navigating the seedy underbelly of Italian genre cinema. He directed everything from gruesome horror ( Beyond the Darkness , 1979) to erotic period pieces. By the mid-1990s, D’Amato had moved almost exclusively into the realm of hardcore pornography, bringing with him an auteur's sense of composition, lighting, and, crucially, a strange, high-concept romanticism.
It mocks the "Great White Hunter" archetypes and the colonialist undertones of the original novels by making the "civilized" characters look foolish and repressed compared to the jungle dwellers. tarzan and the shame of jane
: The film gained notoriety when the estate of Edgar Rice Burroughs (the creator of Tarzan) attempted to sue the production—and famously lost. The "Physics" of the Jungle
Today, Tarzan and the Shame of Jane occupies a niche but important corner of cinematic history. It stands alongside films like Fritz the Cat and The Illusionist (1975) as a testament to an era when animation was breaking its chains and exploring the boundaries of free expression. Whether Burroughs actually wrote such a scene is debatable
The visual design relies on rich, psychedelic watercolors for the backgrounds, creating a dreamlike, counterculture aesthetic. The character movements are intentionally exaggerated, prioritizing physical comedy and surrealism over realism. For film historians, the movie serves as a time capsule of European adult animation, showcasing a willingness to experiment with the form that mainstream American studios wouldn't dare attempt.
To evade total destruction and recoup production costs, the distributors resorted to guerrilla tactics. The film was completely re-edited, stripped of direct audio references to the trademarked names, and re-released under a variety of alternative titles, most notably (or Tarzoon: Shame of the Jungle ). D’Amato was a prolific and wildly eclectic filmmaker,
Mentions of the film often appear on specialized databases or community threads discussing pun-heavy movie titles from that era.