Every time someone makes a "Tarzan" movie, they take wild libertieswith Edgar Rice Burroughs' text.

Burroughs' Tarzan didn't live in a treehouse with an elephant-operatedelevator, but Johnny Weissmuller's Tarzan did in one his campy 1930s classics(if that's the word). Burroughs didn't imagine any Tarzan erotic adventures,either, but John Derek cast his wife Bo as a nude, sexpot Jane in 1981.

Disney's new and visually magnificent animated "Tarzan"takes different kinds of liberties -- the kind necessary to create a kid-friendlymovie (minimal violence; cute, wise-cracking sidekicks; et al). But withthe freedom allowed by the animation medium, in this movie Tarzan himselfmay be the most authentic vision of the character to date. This is a Tarzanunlimited by what human actors are capable of physically, and in termsof authenticity it makes all the difference in the world.

As envisioned by Burroughs and brought to life by leadanimator Glen Keane and directors Kevin Lima and Chris Buck he moves likean animal, low to the ground, resting on his under-turned knuckles. Heswings effortlessly from branch to branch like a gibbon, instead of likea stunt man looking for his next strategically-placed vine. He also surfsthe jungle tree trunks like a skateboarder, making copious use of the movie'scoolest effect -- a new computer animation technique called Deep Canvasthat gives the an astonishing, three-dimensional feel to the lush, livingjungle, which Tarzan kowabungas though at roller-coaster speeds.

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