A young man attempts to stow away on a boat going upriver, into the dense African jungle. When asked why, Tim Tyler explains that he is looking for his father, Professor Tyler, an expert on gorillas who hasn’t been heard from in some time. Big game hunter Lora Lacey offers to pay Tim’s way, but the captain refuses; no matter, Tim finds his way onboard anyway. Also making the river trek is explorer Garry Drake. However, not all is as it seems: Lora Lacey is actually Lora Graham, looking for the master criminal Spider Webb, who committed a diamond theft for which Lora’s brother is serving the sentence. Her real plan is to search for Spider in the jungle and “bring him back alive” to prove her brother’s innocence, and she recognizes Drake as one of Spider’s men.
Sure enough, as soon as night falls Drake and his allies kill the captain, taking over the boat and steering it to the shore, where the rest of Spider’s gang will take possession of the weapons and ammunition intended for the Ivory Patrol, the colonial police force. With Tim’s help, Lora escapes the boat and the pair make their way to the Ivory Patrol’s base. With their help, Lora hopes to bring Spider to justice and Tim hopes to find his missing father. But it turns out their goals are related, as Tim learns when he sees that Spider’s men are driving the “jungle cruiser” (an armored tank) Professor Tyler had built for his work. The Professor has a secret, too: he’s located the legendary “elephant’s burial ground,” and men like Spider would kill to find it. It’s man vs. gorilla, horse vs. tank, and good vs. evil, with tons of ivory at stake, in the twelve-part serial Tim Tyler’s Luck!
Like several of the serials I’ve covered this summer, Tim Tyler’s Luck, about “the All-American boy in Africa,” is based on a comic strip, albeit one I won’t even pretend to be familiar with (but holy cow, it ran until 1996!?). Played by Frankie Thomas (aka Frank Thomas, Jr.), Tim is a happy medium between the unrealistically-competent kid character who can handle any situation like an old pro and the helpless tagalong who’s in constant need of rescue. (Thomas’ career included stints in Broadway, radio, film, and television; after playing Tim Tyler, he appeared as Ted Nickerson in four Nancy Drew films; later, he played Tom Corbett, Space Cadet on TV.) Tim is self-sufficient and can handle himself in the wilderness, and he gets himself and his friends out of a number of jams, but he’s not a superhero; when things get hot, particularly when Spider Webb (Norman Willis) and his gang start shooting, Tim falls back on the support of the Ivory Patrol. (And, as I note below, Tim has a knack for making friends, an invaluable survival skill.)
Typically, Tim Tyler’s Luck has several connections to other serials: right from the start, the theme music and much of the underscore was familiar to me from the later Buck Rogers serial (which I wrote about this spring for The Solute); Garry Drake, Webb’s right-hand man, is played by Anthony Warde, Buck Rogers‘ Killer Kane; Sergeant Gates of the Ivory Patrol is played by Jack Mulhall, Captain Rankin in Buck Rogers; and the “jungle cruiser,” so prominently featured, had served as the “juggernaut” in Undersea Kingdom the year before (instead of the electric whine the juggernaut produced, the jungle cruiser simply makes engine noises like a truck).
Frances Robinson plays Lora Lacey/Graham (and yes, she’s the only woman in the cast, but she has much more to do than scream for rescue); she is another resourceful character, but one who can’t do everything herself. Robinson is lovely, with expressive features that serve her in a variety of moods and emotions. A high point is a sequence in Chapter Six (“The Jaws of the Jungle”) in which she pretends to be a criminal herself and demands a cut of Webb’s payday, with her access to Tim as leverage. She adopts a clipped, hard-edged voice for these scenes, playing off Willis’ low-rent Bogart impression with a little Katherine Hepburn of her own.
Earlier this summer, I described Pirate Treasure as the serial that was “maybe the most elemental in its appeal” for the way it deployed adventure tropes in bold, simplified form. Similarly, Tim Tyler’s Luck may be the most direct expression of the “jungle” genre in anything without Tarzan in its name. Among the touchstones of the genre encountered here are big game hunters, ivory traders, a colonial army, a missing scientist, wild animals, volcanos, quicksand, “talking” drums, and natives both helpful and hostile; there is the theme of man and his technology vs. nature; the man of civilization who has cast off his old identity in the wilderness; and the connection between man and animal. The central conceit of Tarzan and She, the white god or goddess lording it over the black natives, is the only major element of the genre that goes unused (although there are references to a hostile tribe ruled by a white man who has gone native and now directs the tribe to war on other whites; perhaps this character played a greater role in the comic strip, but in the serial he never appears on screen).
Of course, the “elephant’s graveyard” is a myth, based on the observation that remains of dead elephants were never found in the jungle, but in Tim Tyler’s Luck it turns out to be real, a desolate volcanic region to which elephants instinctively return before dying. Conway (Frank Mayo), one of the heroes’ allies, is an ivory hunter (it wasn’t until the very end of the serial that I realized the title card isn’t meant to resemble Chinese writing: the words are made of piled-up elephant tusks); ivory is just one more natural resource to be plundered, not the moral and environmental outrage it is seen as today. In other words, this story is a product of its time.
As is almost always the case during this time period, the plot and characters are products of the colonialist imagination. The main characters are white Americans or Europeans adventuring in Africa, with the native tribesmen largely serving as extras in the background; the most notable exception, Mogu (Everette Brown), is one of Spider Webb’s henchmen, and a few others get lines here or there. I haven’t returned to the discussion of representation lately, mainly because there isn’t much new to say: racism and colonialism were so prevalent in the 1930s that it’s less repetitive to point out positive developments such as color-blind casting (such as Philson Ahn’s Prince Tallen in Buck Rogers) or well-developed non-white characters when they do occur. If you’ve followed me this long in this series, the portrayal of Africans in Tim Tyler’s Luck will not surprise you.
On the other hand, in comparison to some serials, there is clearly more of an effort to present a multi-faceted Africa: some tribes are friendly, some are hostile, and they are given their own beliefs and motivations. And there are more black faces on screen than in many films of the time: many are bearers and servants, and many are half-dressed tribesmen with spears and shields, but there are also black troops in the Ivory Patrol, and there’s Mogu. The African characters are no more uniformly good or evil than the white characters. That’s not to say that Tim Tyler’s Luck is “realistic,” exactly–this is a film in which the hero befriends a black panther, and his scientist father has learned to speak gorilla–but the world feels full, complex, and lived in. Africa is more than just an empty playground for whites: there are other stories going on all around them.
For that matter, and for want of a better term, Tim Tyler’s Luck feels like a movie, not just a serial: throughout this series I’ve been fascinated by the mechanics of serial storytelling: how rhythms are built up, the use of foreshadowing and red herrings to keep the wheels turning, and above all the formal necessity of setting up and resolving cliffhangers. Tim Tyler’s Luck has those things, but it also slows down enough to establish mood and character; the cliffhangers aren’t the most important part of the chapters, and there is enough action that most chapters have at least one or two good set pieces that aren’t tied to the chapter-ending cliffhanger. The scene in which reformed criminal Lazarre (Earl Douglas) tries to silently point out the Professor’s diary to Lora, held prisoner by Garry Drake, succeeds in creating something that is theoretically central to the serial format, but which isn’t always delivered: suspense.
Obviously, the Indiana Jones films draw from the globetrotting adventure genre liberally: I previously compared The Perils of Pauline to Raiders of the Lost Ark, but Tim Tyler’s Luck, with its missing scientist (complete with a diary containing a map to the treasure), shifting loyalties, and running tank battles, feels like a strong influence on Indiana Jones and the Last Crusade. (And tell me that Tim Tyler doesn’t look like River Pheonix as young Indy in his scout uniform from that film’s prologue!)
And what of the title character’s “luck”? Again, since I’m not familiar with the comic strip this was based on, perhaps it’s a bigger deal in the ongoing story, but there doesn’t seem to be anything notable or supernatural favoring Tim Tyler. One may count his tendency to always be in the right place at the right time, but that’s a trait shared by many serial heroes. (Without the lubricating oil of coincidence, how many pulp-era plots would sputter and grind to a halt before they could even get off the ground?) No, if anything, Tim Tyler’s luck is his knack for winning others to his side by his goodness: he tames the black panther Fang by bandaging him up and treating him well; he wins over Spider Webb’s henchman Lazarre by saving his life, even when it would be to his benefit to let him die; and he offers water and comfort to the dying elephant handler who almost killed him, winning the elephant’s trust and loyalty. It simply doesn’t occur to Tim to act any other way, and his good acts return to him in the form of supportive allies.
Compare that to Spider Webb, who seems to neither regret nor relish his evil: he simply looks out for number one, and everyone else be damned. Other people are so little to him he can’t even pretend to care what happens to them (watching one of his henchmen sink into the quicksand that surrounds his base, Webb says only, “well, let’s get going”); the Professor, Tim, and Lora are left alive at key moments only because Webb needs them alive for leverage or information. Unlike many serial villains who rant theatrically, Webb is coldly sociopathic, and because of this comes across as more modern than his contemporaries; and just as importantly, he remains cool even as things unravel and he meets his inevitable comeuppance. Webb berates and bullies his underlings, and because of it he dies alone, unloved, and unrepentant; in comparison to many serials about heroes who save the day single-handedly, Tim Tyler’s Luck makes a solid case for the value of friendship and teamwork.
What I Watched: Tim Tyler’s Luck (Universal, 1937)
Where I Watched It: A non-commercial DVD from the batch I got on eBay earlier this summer. It doesn’t appear to be available to view online.
No. of Chapters: 12
Best Chapter Title: “Jungle Pirates” (Chapter One). As I said, this serial has something of a primal appeal, and the first chapter sets the tone by asking what could possibly make a jungle adventure more exciting: how about jungle pirates?
Best Cliffhanger: The gorillas of Gorilla Canyon are essentially a force of nature in Tim Tyler’s Luck, a natural obstacle to anyone who ventures into their territory. In other chapters, they throw boulders at intruders, resulting in the destruction of Conway’s ivory safari, and they’re an unpredictable danger to anyone who ventures into the caves that riddle the canyon. Only Professor Tyler, who was lived among them for months, has their trust, and even he has succeeded in taming only one of the beasts. In Chapter Seven (“The King of the Gorillas”), the Professor and Lora are forced by Spider Webb to return to Gorilla Canyon to retrieve the Professor’s map to the elephant’s burial ground. While there, the Professor releases the caged gorilla he had trained in hopes of freeing himself and Lora from Spider’s grasp, but the tame gorilla gets in a fight with an aggressive male, still wild. Meanwhile, Tim and Sergeant Gates of the Ivory Patrol have tracked the cruiser to the canyon and make their way into the caves. Professor Tyler is shot by Becker, one of Spider’s men, just before being killed himself by a gorilla (Spider, ever the practical one, only says “Becker’s done for. Never knew what hit him.”). The Ivory Patrol attacks, driving Spider’s men away, but just as Tim finds the cave with Lora and his father, the bull gorilla attacks and carries him away.
Honorable mention: Several of the cliffhangers involve animals, wild or otherwise. There is actually a second cliffhanger that involves Tim being carried, unconscious, this time by an elephant (in Chapter Nine, “The Gates of Doom”). Spider’s inside man in the Ivory Patrol, Rocky, has bribed the elephant’s handler to help Spider escape the Patrol’s fort, but once cornered by, he has the elephant grab Tim. The elephant will crush Tim unless the Patrol lets him escape. The fort’s guards close the heavy doors, but the elephant smashes through them with Tim in its trunk!
Sample Dialogue: “Get this, Tyler: if you don’t tell me where the elephant’s burial ground is, there will be a death in the Tyler family.” –Spider Webb, Chapter Six (“The Jaws of the Jungle”)
What Others Have Said: “Working with the heavies. You ask any actor: the heavies are the nicest people in the world. That’s just the way it works.” –Frankie Thomas, asked in an interview, “What was the high point of working on Tim Tyler?”
What’s Next: Keeping with the jungle theme, let’s check out The Phantom, starring Tom Tyler. That’s not confusing at all!