Allan Quatermain and the Lost City of Gold is a 1986 American adventure comedy film directed by Gary Nelson and released in West Germany on December 18, 1986, and in the United States on January 30, 1987.

After surviving their expedition to King Solomon's Mines, Allan Quatermain and Jesse have settled down in colonial Africa.

Before he dies, he tells Allan that his brother, supposedly lost, is alive, and that they have found the legendary 'Lost City of Gold'.

The inhabitants, both black and white, are friendly, and Allan meets his brother Robeson, seemingly in good health and at peace in the society.

Despite the tremendous liberties both films took with the source material, being more similar in tone to the Indiana Jones film series, Allan Quatermain and the Lost City of Gold was loosely based, mostly, on the book sequel of Haggard's King Solomon's Mines, entitled simply Allan Quatermain.

In that book, which depicts Quatermain's last adventure (although it is just the second in the series of novels), the character and his associates go searching for a lost white tribe in Africa, and end up involved in a war between the rival queens of the kingdom.

[1] The score was initially released by Silva Screen in 1988 on a CD with cues from Manifesto (scored by Nicola Piovani), Making the Grade (Basil Poledouris), Doin' Time on Planet Earth (Dana Kaproff) and The Seven Magnificent Gladiators (Dov Seltzer); in 2009 it was issued on its own album by La-La Land Records.

The other box office disappointments for the company included Assassination, Masters of the Universe, The Hanoi Hilton, Over the Top, Superman IV: The Quest for Peace and Street Smart.

Except for the presence of James Earl Jones doing a depressing turn as a native chieftain, "Allan Quatermain" is just for folks who don't mind mining for fool's gold.

Those who take the Spielberg special effects for granted are sure to learn a lot by watching these same tricks done badly... Fortunately, Richard Chamberlain is professional and then some, since the film would otherwise be virtually unwatchable.

"[5] The Los Angeles Times said the "movie seems largely aimed at fans who can't wait for the next installment of "Raiders of the Lost Ark."

Unfortunately, most of the battle scenes were... ineptly staged... Chamberlain has none of the breezy, irreverence that made Harrison Ford's Indiana Jones such a delightful hero.

[11] The book Africans and the Politics of Popular Culture provides a harsh critique saying it reached "levels of racism unachieved since the 1930s.