“The carefully prepared follow-up to the 1932 hit, Tarzan, the Ape Man. It's cheerful and outrageously preposterous. You are right in the heart of the craziest Africa ever contrived for your entertainment; no wild beast ever misses a cue. Tarzan's mate has adapted herself to her husband's mode of living with true Victorian propriety; snug in her tree houses, she has a devoted gorilla for her personal maid. Everything is idyllic, though some old Mayfair friends of hers turn up and make trouble for awhile” (Pauline Kael). William K. Everson calls Tarzan and His Mate “far and away the best, most elaborate and most action-filled of all the Tarzans,” but also notes “its cavalier treatment of the natives as being somewhat less than human beings. Natives were always used in the Tarzans as useful ‘demonstrations' of all the perils involved....” Cedric Gibbons, MGM's chief art director, here gets directorial credit; but as Everson notes, “Gibbons, a brilliant art director, always wanted to direct--but had absolutely no understanding of that craft”; part way through the production, Jack Conway took over.