Tarzan & Jane (2003)
"Tarzan & Jane" is a computer-animated television film that serves as a sequel to Disney's 1999 animated film "Tarzan." The movie takes place one year after the events of the first film and follows Tarzan (voiced by Michael Angarano) and Jane Porter (voiced by Maile Flourney) as they face new challenges in their jungle home.
The story revolves around a power-hungry and seductive villainess named Shame (voiced by Michelle Yeoh), who was once a friend of Jane's mother. Shame seeks to avenge herself on Jane and take over the jungle. Meanwhile, Tarzan and Jane's relationship is put to the test as they navigate their feelings for each other.
The film features stunning animation, with lush jungle environments and engaging action sequences. The voice cast delivers solid performances, bringing depth and humor to their characters. The movie also explores themes of identity, friendship, and trust.
While "Tarzan & Jane" may not be as well-known as the original "Tarzan" film, it offers an enjoyable and entertaining viewing experience for fans of the franchise and animation in general. The film's blend of action, adventure, and romance makes it a fun and family-friendly watch.
Tarzan-X: Shame of Jane is a 1995 adult film directed by the prolific Italian director Joe D'Amato . It is a sexualised retelling of the classic Tarzan story. Production & Background
: Joe D'Amato (Aristide Massaccesi), known for his "exploitation" and adult cinema during the 1990s. : Notably, the film was shot entirely on location in
, giving it a more authentic jungle aesthetic than typical adult films of that era. Legal Controversy
: The estate of Edgar Rice Burroughs (the creator of Tarzan) attempted to sue the production but was unsuccessful. Plot Overview The story follows Jane Porter , an aristocratic socialite on an expedition in Africa. The Encounter
: Jane discovers the "Ape Man" (Tarzan) in the jungle and is immediately drawn to his "animal magnetism". The Education
: In a reversal of the traditional trope, Jane becomes his "teacher," leading him through various erotic encounters. tarzanx shame of jane top
: Jane attempts to bring Tarzan back to her villa. However, a conflict arises involving her socially acceptable boyfriend, George, and the other ladies at the villa. Resolution
: Ultimately, Jane chooses her social standing over the jungle life, and the Ape Man returns to the African wilderness. Tarzan (Ape Man) : Played by Rocco Siffredi , a major figure in adult cinema. : Played by Rosa Caracciolo (former Miss Hungary). Reception & Tone
The film is often reviewed as a "National Geographic gone wrong," mixing high-production location shots with a thin, often silly narrative. While light on plot, it achieved notoriety for its casting and the novelty of being filmed in Kenya rather than on a closed set. Further Exploration
View more production details and cast information on the film's
Read a thematic analysis of the film's "class conflict" and production style on Filmofile via Medium Explore audience reviews and "cult status" commentary on Letterboxd Tarzan - Shame of Jane (1995) - IMDb
The jungle had never felt so quiet, yet so heavy.
Jane Porter stood at the edge of the watering hole, her reflection a wavering ghost in the twilight water. In her hands, she held the object of her current torment: a simple, hand-stitched top made of soft doeskin. It was the first real garment she had ever made on her own, a far cry from the torn remnants of her Oxford expedition dress.
She had wanted to surprise him. To show him that she was adapting, not just surviving, but belonging. The top was modest by Victorian standards, but compared to the loincloth Tarzan wore with such unconscious majesty, it was a fortress of fabric.
Yet, as she had emerged from the bower they shared, a strange, hot feeling had crept up her neck. Tarzan had looked at her. Not with the animal lust she sometimes feared, nor with the innocent curiosity he often showed. No, his gaze had been… troubled. He had reached out, his calloused finger tracing the seam along her collarbone.
“Why do you hide your skin, Jane?” he had asked, his voice a low rumble that held no malice, only genuine confusion. Tarzan & Jane (2003) "Tarzan & Jane" is
And that was the shame.
Not that she was naked. She had grown accustomed to that, the freedom of it under the canopy. The shame was that she suddenly felt more exposed wearing this carefully crafted top than she ever had without it. She felt like a fraud. A prim little English girl playing dress-up in a world that demanded authenticity.
She had stuttered an excuse about the evening chill, but Tarzan had simply grunted, turned, and melted into the undergrowth to hunt. He hadn’t been angry. He had been distant. As if she had just erected a small, silly wall between them.
Now, kneeling by the water, Jane traced the stitching. Each perfect, tiny knot was a lie. A lie that said she was still ashamed of her body, still clinging to the rules of a society that would burn Tarzan as a devil if they ever saw him.
A twig snapped.
She looked up. Tarzan stood across the pool, the last light of the sun gilding the hard planes of his chest. He wasn't carrying a kill. He was carrying a single, large, soft leaf of a wild taro plant. He waded into the water, the ripples distorting their reflections.
He stopped before her. Without a word, he gently took the top from her hands and placed it on a rock. Then, he lifted the taro leaf and, with an odd tenderness, laid it over her breasts, tucking the stem at her back. It was cool, organic, and ephemeral.
“This is good for tonight,” he said softly. “It will keep the mist off. Tomorrow, it will be food. Not a cage.”
Jane’s breath hitched. He understood. He didn’t see clothing as a shield for modesty; he saw it as a temporary tool, like a monkey using a stone to crack a nut. Her beautifully sewn top wasn't practicality; it was permanence. It was an attempt to build a little England in his Eden, and in doing so, she had shamed the very freedom he had given her.
Tears welled in her eyes, but not from sadness. From relief. “I’m sorry,” she whispered. The jungle had never felt so quiet, yet so heavy
Tarzan tilted his head. “For the leaf? It is a good leaf.”
She laughed, a wet, broken sound. “No. For forgetting who I am here.”
He reached out and touched her cheek. “You are Jane. Top or no top. Leaf or no leaf. My Jane.”
And in that moment, the shame evaporated, leaving behind only the quiet understanding that true modesty wasn’t about covering the body—it was about honoring the soul standing before you. She let the taro leaf fall into the water. It floated away, a green ship sailing into the dusk, carrying with it the last of her unnecessary shame.
Depending on the version (the "Erotic" vs. the "Psychological" route), the "Shame of Jane Top" concludes with the garment's destruction.
This narrative is why collectors search for the "Tarzanx Shame of Jane Top." It represents the destruction of Victorian hypocrisy.
While Edgar Rice Burroughs’ Tarzan of the Apes has been a household name for over a century, the addition of the letter "X" changes everything. In modern internet slang and fan fiction tagging, the "X" denotes a crossover or, more frequently, an explicit or mature rating.
"Tarzanx" is the specific niche within fandom that reimagines the Lord of the Apes not as a simple jungle hero, but as a complex, often sensual, figure. It strips away the Disney-fied veneer of the 1999 animated film and returns to the raw, muscular, primal energy of the original novels. In the "Tarzanx" space, the relationship between Tarzan and Jane is not a platonic rescue narrative; it is a clash of civilizations, a dance of dominance and curiosity.
To understand the whole, we must first break the keyword into its three distinct components: Tarzanx, Shame, and Jane Top.
The Tarzan myth and the motif of “the ashamed Jane” together form a rich, paradox-laden tableau where wilderness and civilization collide, gender and power are negotiated, and identity trembles on the cusp between exposure and concealment. Examining “Tarzan × Shame of Jane” as a conceptual pairing—rather than a single canonical text—lets us probe how shame functions in narratives of contact: what it reveals, what it hides, and how it becomes a force that reshapes both person and story.