Plot
Travelers near Zambezi are being killed, apparently by leopards. The commissioner (Dennis Hoey) asks Tarzan to look into the matter. Tarzan immediately doubts that leopards are the problem. At the same time, Tarzan, Jane, and Boy take in Kimba, a boy who claims to have become lost in the jungle. Kimba (Tommy Cook) is the brother of Queen Lea, leader of a leopard cult. She has dispatched him to spy on Tarzan. Queen Lea also conspires with Ameer Lazar (Edgar Barrier), a Western-educated doctor who resents the West's domination of the area.
Kimba has a goal of his own: to take the heart of Jane (Brenda Joyce) a deed that would make him a warrior in the eyes of the cult. The Leopard Men wear leopard skins that form a cowl and cape, with iron claws attached to the back of each hand. Queen Lea (Acquanetta) wears a headband, wrist bands, ankle bands, halter top and miniskirt made of leopard skin. As "Variety" put it: "She displays plenty of what it takes to stir male interest and handles her acting chores adequately." She works her followers into a frenzy in an underground chamber, "These skins are your disguise. These claws are your weapons. Go not as men, but as leopards. Go swiftly, silently."
They attack a caravan bringing four teachers (Iris Flores, Lillian Molieri (Miss Central America of 1945), Helen Gerald and Kay Solinas) and bring the maidens back for sacrifice. They also capture Tarzan, Jane, and Boy. Tarzan brings down the roof of the cavern, destroying the cult and rescuing his friends.
The plot is summed up by these lines spoken by Tarzan (about Cheeta):
- "If an animal can act like a man, why not a man like an animal?"
Read more about this topic: Tarzan And The Leopard Woman
Famous quotes containing the word plot:
“The plot was most interesting. It belonged to no particular age, people, or country, and was perhaps the more delightful on that account, as nobody’s previous information could afford the remotest glimmering of what would ever come of it.”
—Charles Dickens (1812–1870)
“The plot was most interesting. It belonged to no particular age, people, or country, and was perhaps the more delightful on that account, as nobody’s previous information could afford the remotest glimmering of what would ever come of it.”
—Charles Dickens (1812–1870)
“James’s great gift, of course, was his ability to tell a plot in shimmering detail with such delicacy of treatment and such fine aloofness—that is, reluctance to engage in any direct grappling with what, in the play or story, had actually “taken place”Mthat his listeners often did not, in the end, know what had, to put it in another way, “gone on.””
—James Thurber (1894–1961)