Fray Felipe J. Edward Bomber ... Don Luis Quintero Montage Love ... Don Alejandro Vega Janet Beecher ... Señora Isabella Vega George Vegas ... Sgt. Gonzales Chris-Pin Martin ... Turnkey Robert Lowery ... Rodrigo Belle Mitchell ... Maria John Blazer ... Pedro Frank Paglia ... Proprietor Eugene Borden ...
Edit Around 1820 the son of a California nobleman comes home from Spain to find his native land under a villainous dictatorship. On the one hand he plays the useless fop, while on the other he is the masked avenger Zorro.
Plot Summary | Add Synopsis Taglines: Ride With Zorro. Edit Goofs When Sgt Gonzales, enters the Mission, while chasing Zorro, he is talking to Father Felipe and Diego De Vega, you can see his false mustache over his left lip coming apart from his face (55:10).
Sound Mix: Mono (Western Electric Microphone Recording) Don Diego Vega (TyronePower) is urgently called home by his father.
To all outward appearances, he is the foppish son of wealthy ranchers and former Arcade Don Alejandro Vega (Montage Love), having returned to California after his military education in Spain. Don Diego adopts the guise of El Zorro (“The Fox”), a masked outlaw dressed entirely in black, who becomes the defender of the common people and a champion for justice.
In the meantime he romances the Arcade's beautiful and innocent niece, Lolita (Linda Darnell), whom he grows to love. As part of his plan, Don Diego simultaneously flirts with the Arcade's wife Inez (Gale Sondergaard), filling her head with tales of Madrid fashion and culture and raising her desire to move there with her corrupt husband, Luis.
In both his guises Don Diego must contend with the governor's ablest henchman, the malevolent Captain Esteban Pasquale (Basil Rathbone). He eventually dispatches the Captain in a fast-moving rapier duel-to-the-death, forcing a regime change; Don Diego's plan all along.
TyronePower’s performance is especially spirited, displaying a range and wry sardonic charm not always evident in his other forays into this genre. In the DC Comics continuity it is established that The Mark of Zorro was the film that the eight-year-old Bruce Wayne had seen with his parents, Thomas and Martha, at a movie theater, only moments before they were killed in front of his eyes by an armed thug (later reconned to be Joe Chill).
Bill Finger was himself inspired by Fairbanks' Zorro, including similarities in costumes, the “Bat Cave” and Zorro's cave, and unexpected secret identities, especially since the Batman character predates the TyronePower remake by a year. In Batman v Superman: Dawn of Justice (set in the DCE continuity), Bruce and his parents leave a screening of 1940s The Mark of Zorro the night of their murder.
In the animated series Justice League Unlimited, a flashback of the fateful night establishes that for CAU continuity Bruce and his parents were attending The Mark of Zorro but does not indicate which version. The first was on October 7, 2003, and featured the film in its original black-and-white, as part of 20th Century Fox Studio Classics Collection.
However, the only actor with any real potential to challenge Flynn’s swashbuckling crown is one Tyrone Edmund Power, Jr. Darryl F. Zanuck saw the popularity- and more importantly- the box office that competitor Warner Brothers was generating with Flynn and his seemingly continual tales of herring- do.
After exploding onto the scene in 1935’s quintessential Captain Blood, Flynn became a top box office draw for many years, until his hard and fast living began to catch up with him towards the end of the 1940s. In Ty Power, already in the upper echelon of stardom through successes in films including Marie Antoinette, Son of Fury, Suez, and Jesse James, Zanuck saw potential.
Originally made under the same name as a silent picture in 1920 staring Douglas Fairbanks, the 1940 version continued the now traditional costume of black, creating somewhat of a caped crusader. To give the film more of that swashbuckling feel, Fox brought three veterans of 1938’s smash hit The Adventures of Robin Hood along for the ride.
Eugene Palette (Friar Tuck in Robin Hood), Montage Love (Bishop of the Black Canons) and Basil Rathbone (Sir Guy of Gisborne) bring some additional heft as Fray Felipe, Don Alejandro, and Captain Esteban, respectively. Rathbone especially becomes a dynamic scene stealer as a foil to Power’s own portrayal of Don Diego.
And Palette virtually reprises his Friar Tuck role- I think Warner’s may have even loaned him the wardrobe for Zorro. We won’t spend too much time on the plot, as most readers will know it- especially given the fairly recent reboot with Antonio Band eras, which touches some (okay, perhaps a few) of the key broad themes.
Don Diego (Power) returns to his father’s home in Southern California after completing his education in Spain. Out of disgust with how the populace is being treated by the local Arcade, he dons the cape and mask of Zorro and becomes their spokesman.
Along the way he flirts with the ladies; with Lolita (Linda Darnell) and Inez (Gale Sondergaard) Quintero being the objects of his affections. Although a thorough comparison is out of scope of this writing, suffice to say they both had their vices which led to their own respective untimely demises- both well before their time.
This range is one of the factors which makes it impossible to imagine Errol Flynn pulling it off with the same degree of success. Very well done, and I seem to recall this same gag repeated elsewhere, especially within the Peter Sellers library of Pink Panther films.
There are even more bits of humor and witty dialogue scattered throughout, though never with tongue as firmly in cheek as some of Flynn’s similar films. This duel and the final fight of The Adventures of Robin Hood are definitely a one-two punch as the cream of the crop.
And yet, though Rathbone features in both of them (and both were choreographed by fencing master Fred Caves), they are very different, and each highlight the lead’s abilities. The fact that in Zorro the duel is contained in a relatively tight space (one room) drives additional suspense.
So much so that at one point Rathbone was quoted as saying, Power was the most agile man with a sword I’ve ever faced before a camera. As the fight continues, one sees Captain Esteban tire somewhat and grow frustrated, while Don Diego’s confidence swells until that final lunge, right under the “Z” Power carved in the wall roughly forty-five minutes earlier.
Beyond the stellar cast and fine performances we have a rousing score by Alfred Newman with an exciting main theme. It isn’t quite as powerful as the theme from Captain from Castile (currently still used by the USC Trojans), but still a wonderfully robust piece of music.
Though rumors persist that the main theme is in fact a work of Hugo Fraunhofer, I haven’t been able to confirm this. It is clear that Fox spared little expense (except for the earthly lack of technicolor) but the final film isn’t without flaws.
Though little plot is needed, it seems almost impossible that Zorro’s identity isn’t discovered much earlier in the film, as Don Diego makes little real effort to conceal it. Though Power’s swashbuckling career continued with big budget genre pictures like Captain from Castile and The Black Swan, The Mark of Zorro was and is his best of the bunch.
Oh, and lest we forget for those of you looking for us to tie off that loose with our ‘caped crusader’ reference…. For those who follow Batman, The Mark of Zorro is the film Bruce Wayne sees with his parents the night of their murder. SUA Avalara: 94 minutes enredo SE pass Na California, no secure 19.
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IS ABEL ALLENDE'S career has been marked by three distinct types of fictionmagical realism, as in The House of the Spirits (1985); historical fiction, represented by the companion novels Daughters of Fortune (1999) and Portrait in Sepia (2001); and smart-kid's lit, like last year's Kingdom of the Golden Dragon. The character of Zorro ”fox” in Spanishoriginated not in Mexico or Spain but in the mind of a pulp writer named Johnston McCully, who moved to Southern California in 1908 and picked up something of the color and lore of the provincial times, though nothing at all of its history.
Initiated into the art of the saber by a Zen-like Jewish master, he learns acrobatic skills and parlor magic from performing Gypsieshis costume is the all-black outfit, replete with cape and caballero hat. Fleeing the tyranny of French-occupied Spain, Diego sails for the New World, is abducted near New Orleans by the pirate Jean Lafitte and returns to Old California to introduce the natives to Western enlightenment and the Spanish dons to Indian-style justice.