La (Tarzan) - La in Other Media

La in Other Media

La first appeared on screen in The Adventures of Tarzan (1921), an early black and white silent Tarzan film based on The Return of Tarzan. She was portrayed by actress Lillian Worth, who played opposite Elmo Lincoln, the first screen Tarzan.

In the serial Tarzan the Tiger (1929), based on Tarzan and the Jewels of Opar, La was played by Mademoiselle Kithnou, and Tarzan by Frank Merrill.

La is also a recurring antagonist in Disney's The Legend of Tarzan animated series, in which Opar is occupied by humanoid leopards created by La's magical staff to serve her. (This is a very loose reference to the Leopard Men cult from Burroughs' novel Tarzan and the Leopard Men (1935), though in the books they have nothing to do with La.) She tries to make Tarzan fall in love with her, and since he is in love with Jane has the Leopardmen stage Jane's death; Jane survives and Tarzan discovers the ruse.

The next time Tarzan meets La, her head Leopardman takes her staff, which possesses Jane. Working together, they save Jane. Learning that the Leopardmen want to be free, Tarzan shatters the staff, which turns the Leopardmen back to leopards and La to dust as Opar crumbles to nothing.

La's spirit survives, and subsequently possesses the bodies of others. Taking over Jane, she finds and reassembles the pieces of her staff, restoring Opar. When Tarzan and a native interfere, La takes over his body but is attacked by one of her animated statues, forced into the body of a rat, and captured.

Since the Disney version of Tarzan is child oriented, its La is not nude, but wears a bikini-like loincloth and a top exposing her arms and midriff, both made of panther fur and decorated with animal teeth, as well as jewelry. She is the first boss of Disney's Tarzan: Return to the Jungle for the Game Boy Advance.

Read more about this topic:  La (Tarzan)

Famous quotes containing the word media:

    The media network has its idols, but its principal idol is its own style which generates an aura of winning and leaves the rest in darkness. It recognises neither pity nor pitilessness.
    John Berger (b. 1926)