THE MASK OF ZORRO
Does anyone yearn for a good old fashion western adventure full of shootouts, trick horse back riding, acrobatics, daring escapes, comic bravado and even swordplay with villains to hiss at and good guys to cheer for who put the needs of others before their own? Yearn no more! "The Mask of Zorro" is an epic tale of revenge, greed and romance that has it all!
Anyone familiar with the classic "The Mark of Zorro" with Tyrone Power, or the "Zorro" TV series from the fifties that is in endless re-runs on The Disney Channel, knows the story of the masked avenger in Old California who champions the local peasantry who live under the Governor’s heel of oppression.
"The Mask of Zorro" opens up with a sure-fire attention-grabbing prologue that gives the movie a sense of time and place - California - some twenty odd years before Mexico fought the Texans in their war of secession. Director, Martin Campbell, establishes Zorro’s identity, his place in the hearts of the people, and the source of his legend in one swift action packed scene with a tension filled build up that introduces the teenage Murrieta brothers who worship him, and the malicious Don Rafael Montero who despises him. Then "The Mask of Zorro" departs from the traditional Zorro story with a Count of Monte Cristo interlude, that jumps ahead in time to resurrect the legend, albeit, in the form of a rogue, to wreak havoc on the landed gentry who owe their privileged position and untold wealth to Montero, played with chilling intensity by Stuart Wilson.
Watching the actors revel in their roles in "The Mask of Zorro" is pure joy. Anthony Hopkins’ Don Diego de la Vega projects an arrogance of class that is tempered by humility and compassion. Antonio Banderas is charming and childishly mischievous as the misguided hot-headed impulsive misfit, Alejandro Murrieta, who has his own score to settle with the wonderfully despicable Captain Love (Matthew Letscher), who handles the bloody chores doled out by the evil Governor. Under Diego’s tutelage, Alejandro evolves into a lean, mean, fighting machine; but not before he has a chance to leave some Buster Keaton style destruction in his wake and woo Montero’s daughter Elena (Catherine Zeta Jones), who develops a thing for avenging masked mashers. The scenes between Banderas and Jones have a romantic tension that is uncommonly playful, especially during a magnificent dance scene that oozes sexuality without being licentious. Later Banderas is the epitome of cool when a suspenseful verbal duel between Alejandro and Captain Love comes to an abrupt end when Love presents him with a souvenir that threatens to unnerve him. Alejandro has an epiphany that turns rage into reflection. This defining moment signals his readiness to accept the mantle of Zorro from Don Diego
The most remarkable thing about "The Mask of Zorro" is that the scenes are never forced. All the set pieces flow naturally from the plot, providing natural links that drive the story forward. The ebb and flow of the movie reflect the mood and temperament of the main characters. Much of the action is anticipated by Alejandro’s boyish curiosity, and the testing of his skills, while the more reflective moments belong to Diego whose every act is directed towards one singular end - a confrontation with Don Rafael Montero that has as much to do with Alejandro’s future with Elena as it does with the destruction of Montero’s dream of empire.
For the hardcore Zorro fan, I recommend keeping an eye out for the silent version of "The Mark of Zorro" and the sequel, "Don Q, Son of Zorro", both with Douglas Fairbanks when he was in his prime. "The Mask of Zorro" is a worthy successor.