I like the storyline of this show,it attract me so much

Not even bad in a good way

The biggest problem with this movie is it’s a little better than you think it might be, which somehow makes it worse. As in, it takes itself a bit too seriously, which makes most of the movie feel kind of dull.

The acting in this movie is really good.

There is nothing savage about the jungle cutie that lip-stick wearing Rochelle Hudson plays in this publicity stunt of a movie. Contrived from start to finish, this adventure in the African jungle is low-budget hokum. A big game trapper, Jim Franklin (Walter Byron of "British Agent"), agrees to take an alcoholic millionaire, Arnold Stitch (Harry Myers of "City Lights") on a safari, so the latter can bring some beasts to stock a zoo on his sprawling estate. While Franklin is inclined to treat Stitch with something less than respect, Stitch's friends warn him that there is more to the man than appears. Together, Franklin and Stitch set sail for the dark continent. The British cabbie who delivers them at dockside observes that he has never been to Africa and that he wishes he could go. The next thing you know, they are unloading his cab and himself on the dock in Africa. Before the tipsy millionaire leaves America, he buys a box of white mice to find out if elephants are frightened of them. Once they arrive in Africa, Franklin introduces Myers to a cohort, Erich Vernuth (Adolph Milar of "The Perils of Pauline"), and they set out to lay traps. No sooner have they left civilization behind than they encounter the 'white goddess' (Rochelle Hudson of "Rebel Without A Cause") as she is petting animals in the jungle. She attracts the attention of Franklin and company when she releases the lion that they have trapped. The conflict starts when Vernuth gets fresh with 'the Girl,' and Franklin runs him off. The jealous Vernuth stirs up a tribe of headhunters, and they capture Franklin and tie him up to a stake. Stitch comes to his rescue, and Franklin whips Vernuth in a fair fight. Our eponymous heroine barely knows how to speak English, and she learns her first few words from Franklin. The miracle is that this babe could have survived as long as they did. She is dressed in a one-piece leopard outfit that doesn't look like it has spent a day in the sun, and her hair is immaculate. No, she doesn't look like she has spent a day, much less a lifetime in the jungle. If you're expecting a hellcat, you'll be disappointed. The only thing that 'the Girl' knows how to do is scream when she is attacked. Truly, she qualifies as a damsel-in-distress. I guess that I was expecting more from "Batman" director Harry Fraser and scenarist Brewster Morse. Sadly, "The Savage Girl" doesn't even deliver camp. Despite looking sexy in her outfit, 'the Girl' isn't an interesting character.

"The Savage Girl" tells us the story of a rich man financing an expedition into the African jungle to hunt down animals for his future zoo. During this trip, the men are confronted with a white jungle goddess and start to fight over her.The movie is all in all quite boring. There is no real climax or anything and what happens is already very foreseeable from the very beginning. We have a shining hero, an innocent but handsome wild woman and a barbaric antagonist. We have a bunch of the stereotypes that are typical for this period and we have a goddess that manages to wear make-up despite growing up under wild animals somewhere in the jungle. It is no secret that she probably is also supposed to be of erotic value, too. Unfortunately, all this doesn't really add up in the end and what remains is barely more than the idea of a female Tarzan. Though I appreciate that the movie praises respectful behaviour towards women in a way, it is a bit odd how the female protagonist is not curious but rather begging for physical contact.All in all this is one of the movies that didn't hold the test of time. You won't miss it if you didn't see it but you can, of course, come to a different conclusion if you're very interested in this kind of stories.

As long as you never take this film very seriously, it is fun--though I certainly wouldn't call this a good movie! Tarzan-like knockoff films were very popular during the 1930s and 40s as well as female Tarzan-like films. I have seen quite a few and none of them are what you'd consider great films--but they are, in some cases, entertaining. As for this particular film, it's better than some--mostly because the stock footage they use isn't grainy or full of animals from the wrong continent! You may laugh, but many of the jungle films have these problems. In addition, they really have a few real animals they use in scenes with the actors--such as leopards. I have seen a few films where NONE of the scenes involve actual animals--just crappy footage! This film from tiny poverty row studio 'Commonwealth Pictures' begins with a completely unnecessary prologue telling us that the film MIGHT just be fantasy! Say it isn't so! Anyway, an affable rich drunk decides, on a whim, to fund an expedition to Africa in order to capture live animals for his zoo as well as determine once and for all if elephants are afraid of mice! The elephant in this film is actually an Asian one--but African ones are rarely used in films because they are nasty and unpredictable. At least they didn't feature Asian tigers or kangaroos! Once in Africa, they hear about a white jungle goddess. Actually, she's a hot white lady and you never learned HOW she made it into the jungle. And, unlike Tarzan, she isn't so butch and is apparently VERY hot, as the German guy in the group is constantly wanting to rape her and later in the film the jungle lady starts making lots of sexual overtures towards the nice leader of the expedition. There's more to it than that, but not much.Overall, an entertaining and silly film with a few intended and unintended laughs. Lovers of B-movies will enjoy this and younger folks will laugh that anyone actually enjoys this sort of silliness. Harmless and dumb fun.

The usually ultra-demure Rochelle Hudson, of all people, stars in this pleasing fantasy as a female Tarzan. She swings through the jungle on vines, her companions are animals (including, of course, a friendly chimp), and her English vocabulary is limited to four or five words. Like her male counterpart, she wears an abbreviated skin costume—and absolutely delicious she looks too! No-one will blame the rather staid hero, Walter Byron, for falling for her. (I would carry her off myself). Naturally, the heavy is smitten too and that inevitably leads to a plot complication that is not entirely unforeseen. However, help is on the way through the agency of an eccentric millionaire whose besetting vice is liquor rather than lust, so the story finally works out—via all the customary jungle thrills (which allow for a not unexpected bit of action from an over-sized ape)—just fine and dandy!From the above remarks, you may have received the impression that The Savage Girl offers little more entertainment than your average, routine Poverty Row yarn. That idea needs considerable adjustment. This effort lifts its game with some bizarre features that almost place it in the connoisseur category. The Harry Myers character is unusual in that (as with his similar characterization in Chaplin's City Lights), he is a main, indeed a key player, not just a comic drunk on the sidelines. Here, however, unlike the 1931 Chaplin-scripted millionaire, he is never sober. Never! His constant, half-sloshed, spur-of-the-moment eccentricities not only set the story in motion but give rise to several really outlandish plot devices, most notably the introduction of a London taxi-cab as a means of transportation in the African jungle! (And is it really Ted Adams, the fiendish heavy of Song of the Gringo, who plays the cabbie with such a winningly comic nonchalance?)Acting honors fall naturally to Miss Hudson, though Harry Myers, Ted Adams and "Oscar" are not far behind. All four are most appealing.Edward Kull, later to co-direct and co-photograph the 1935 New Adventures of Tarzan, has contributed the expert cinematography. Director Harry L. Fraser, who handled some real clunkers both before and since, has risen to the occasion nobly. After a slow, static beginning (doubtless designed to allow cinema latecomers to find their seats), the pace picks up a treat and it's to Fraser's credit that, despite many opportunities offered by the screenplay's weird elements, he never allows the proceedings to tip right over into a knockabout farce or even a heavy-handed spoof—though doubtless viewers who are determined to find The Savage Girl ultra-campy will do so. In any case, by the humble standards of Poverty Row, direction must be rated as "polished", and production values chalked up as remarkably lavish.