Squad Leader Luisa Huerta's ... Nanny María Fernández Cruz ... Baby Elena de la Vega (as Maria Fernandez Cruz) Mónica Fernández Cruz ... Baby Elena de la Vega (as Monica Fernandez Cruz) Julieta Rose ... Esperanza de la Vega Antonio Band eras ... Alejandro Murrieta / Zorro View production, box office, & company info. Edit In 1821 Old California--after humiliating once more the evil Spanish governor, Don Rafael Montero--the mysterious black-caped masked avenger of the oppressed, Don Diego de la Vega, or Zorro, finds himself incarcerated.
With his only daughter raised by Don Rafael as his own, the grizzled swordsman makes a daring escape nearly two decades later, and takes under his wing the unrefined outlaw, Alejandro Marietta, to teach him the ropes and, hopefully, become the next Zorro. Now, the stage seems set for a ferocious final confrontation, as the new young rapier-wielder prepares to thwart the despicable governor's sinister plans.
Edit Goofs When Don Diego is about to confront Don Rafael for the first time, he begins talking in the shadows, but his voice isn't in sync with the picture. Quotes Don Diego de la Vega : There is a saying, a very old saying: when the pupil is ready the master will appear.
At the end, when Zorro confronts Captain Love, he pulls out his sword, and the sun glints off the blade running the full length. He had to tilt the sword to catch the sun without breaking eye contact with Matt Fletcher.
Not only was Joaquin Murrieta a historical figure, he is widely believed to be the inspiration for the original literary character Zorro. Originally, Sir Anthony Hopkins refused the part of Don Diego de la Vega because of his back pain.
Raul Julia was originally supposed to play Don Diego de la Vega, but died before he could take the role. Legend has it that director Martin Campbell didn't want to use Zorro's famous bullwhip in this movie.
Joaquin Murrieta was a Mexican, born in Sonora, who moved to California to find his fortune. His life was the stuff of legend, used by Mexicans as a source of patriotism, and by Americans as reason enough to hang anyone who spoke Spanish.
Sir Sean Connery turned down the part of Don Diego de la Vega. Sir Anthony Hopkins impersonates Bernardo, Zorro's butler in the original stories.
Robert Rodriguez was originally attached to direct, but the studio didn't agree with his much more violent, and R-rated proposal. According to an account in book “Tales from the Script” (2010) by Peter Hanson and Paul Robert Herman, David S. Ward re-wrote approximately eighty-five percent of the dialogue, but received no on-screen credit, a predicament that spawned enough controversy to merit a front page article in the Los Angeles Times.
Sir Anthony Hopkins, who is Welsh, plays Spaniard Don Diego de la Vega. The DVD includes an alternate ending where Alejandro (Antonio Band eras) and Elena (Catherine Zeta-Jones) meet General Santa Anna while walking away from the mine with all the rescued prisoners.
Alejandro Murrieta holds onto and trains with his own rapier, with which he is first seen, up until he officially dons Zorro's mask. Catherine Zeta-Jones admitted that she became genuinely aroused during the stable sword fight scene where her clothes were cut off by Zorro.
Spain's Juan Carlos de Borbón, Queen, and Princess Elena attended the first Royal premiere in Madrid in seven years. During filming, the producers were frustrated by Customs agents when some props and other items, including Zorro's plastic sword, were held for nine days.
Despite being one of the main antagonists of the film that has a personal rivalry with Alejandro, Matt Fletcher admitted that it was hard to act with hatred against Antonio Band eras since he was such a genuinely nice guy in real life. According to the DVD commentary, director Martin Campbell stated the training scene when Alejandro was doing elevated push-ups with Don Diego de la Vega's legs adding weight on his back and the candles at the base of his body for incentive to not collapse was directly inspired by a similar scene in an unspecified Jackie Chan movie, presumably Snake in the Eagle's Shadow (1978).
Benicia Del Too, Andy Garcia, Marc Anthony, Joaquim de Almeida, and Elmer Figueroa Are were considered for the part of Alejandro Murrieta. On January 24, 2001, Sony Pictures Entertainment filed a lawsuit in United States District Court, Central District of California, Western Division, against Fireworks Entertainment Group, the producers of the syndicated television series Queen of Swords (2000).
On April 5, 2001, U.S. District Judge Collins denied Sony's motion for a preliminary injunction, noting “that since the copyrights in (Johnson McCully's 1919 short story) The Curse of Capistrano and The Mark of Zorro (1920) lapsed in 1995 or before, the character Zorro has been in the public domain.” After watching The Red Squirrel (1993), Stanley Kubrick advised executive producer Steven Spielberg to hire Julio Modem to direct this movie.
Spielberg contacted Modem, but the Spanish filmmaker rejected the job, and preferred to keep working in more personal projects. There was speculation within the media about whether Tristan changed the date in an attempt to avoid competition with Titanic (1997).
In addition, Sony Pictures Entertainment, Tristan's parent company, wanted an action movie for its first quarter releases of 1998. Unlike previous Zorro films that took place in and around the city of Los Angeles, this film takes place farther north in keeping with the historical location of the capital of Alta California being in Monterey and the Gold Rush subplot.
Sam Shepard, Lance Henriksen, Edward James Almost, Scott Glenn, and Giancarlo Giannini were considered for the part of Rafael Montero. In Disney's Zorro (1957) television series, Don Diego de la Vega's romantic interest is a woman named Elena.
In October 1992, Tristan Pictures and Ambling Entertainment were planning to start production on this movie the following year, and hired Joel Gross to re-write the script after they were impressed with his work on The Three Musketeers (1993). Gross completed his re-write in March 1993, and Tristan entered pre-production, creating early promotion for this movie at the Slowest trade show.
By December 1993, Brando Lusting was producing this movie with Spielberg, and Mikael Salomon was attached as director. Contrary to false claims, Antonio Band eras is not the first Spanish actor to portray Zorro.
He is preceded by other Latinos such as Rafael Bertrand (1964), Rodolfo de Anda (1976), and Henry Darrow (1980s). When executive producer Steven Spielberg was being sought to direct, Tom Cruise was to be Zorro.
Antonio Band eras was actually born and raised in Malaga a town in the Spanish province of Andalusia. Five years before this film was released, Stuart Wilson appeared in Teenage Mutant Ninja Turtles III (1993) in which Michelangelo calls his character, Walker, that Zorro dude” during a battle scene.
Antonio Band eras and Anthony Hopkins both played the Spanish painter Pablo Picasso in adaptations about his life. Anthony Hopkins starred in the film Surviving Picasso (1996) and Antonio Band eras in the second season of the TV series Genius (2017).
Brother Ignacio Julio Oscar Echos ... Frey Felipe Gustavo Sánchez Parr ... Guillermo Cortez Adrian Alonso ... Joaquin de la Vega Nick Child ... Jacob Givens Giovanna Zacharias ... Blanca Cortez (as Giovanna Zacharias) Carlos Combos ... Tabulator Antonio Band eras ... Don Alejandro de la Vega / Zorro Michael Emerson ... Harridan Ruler Hensley ... Pike Pedro Armendáriz Jr. ... Governor's Wife Catherine Zeta-Jones ... Elena de la Vega Mauricio Bone ... Don Verdugo Fernando Becerra ... Don Diaz View production, box office, & company info.
Edit In 1850--against the backdrop of political unrest, as the scheming Jacob Givens tries to stop California from joining the Union--the mysterious black-caped masked swordsman, Alejandro de la Vega, aka Zorro, finds himself in an unavoidable predicament. Having spent almost a decade protecting his people and fighting injustice, Alejandro's wife, Elena, insists that he gives up the black mask, and become a true father to their eight-year-old son, Joaquin.
It was originally called “The Mask Of Zorro 2” and then that title was changed to Zorro Unmasked” which had been the original script title by Ted Elliott and Terry Rossi. Goofs Nitroglycerin was first synthesized by Italian chemist Arcadia Sombrero at the University of Turin in 1847 but Alfred Nobel was not issued a patent on 'blasting oil' until 1863 (13 years after the year the story is set in).
Nobel was still blowing up his factories in Hellebore, Sweden 1864 and Brummel, Germany 1865 trying to produce it commercially. Nitro wasn't introduced to California until 1866, the same year Nobel established the United States Blasting Oil company when the Central Pacific Railroad acquired three crates to blast the Summit tunnel through the Sierra Nevada's, a handling accident caused an explosion which destroyed the Wells Fargo office in San Francisco killing 15 people.
Douglas Fairbanks impersonates a wealthy young Spanish noble who, in his proper person, is an indolent imbecile, the despair of his father and of his charming sweetheart. With his thirtieth film, Douglas Fairbanks brings forth the original Zorro, and it’s a big bag of swashbuckling fun.
I’m positive kids enjoying this in a 1920 theater were having as good a time (if not better) than any modern-day viewer watching The Avengers. Unexpected complications in my day job prevented me from doing even a single write up during the previous week of the Film School Dropout challenge, which covered German Expressionism; but instead of getting bogged down in trying to catch up and risk getting even further behind, I've decided to just charge right ahead into week 4 of the challenge, with the assumption that I'll be able to make up week 3 later at the end of the year when it comes time for the book version of these essays.
On the one hand, it is overlong (an aspect the 1940 remake corrected), and Douglas Fairbanks' pudgy visage does contrast somewhat with the lean, dashing image of Zorro I'm used to. But on the other hand, the swashbuckling action is solid from start to finish, and Fairbanks really comes alive whenever he dons the bandana.
Before Antonio Band eras took the Zorro mantle in the late 90s with the help of director Martin Campbell and executive producer Steven Spielberg (and completely butchering it seven years afterwards), Douglas Fairbanks was the first to don the mask. This was clearly a passion project for Fairbanks, seeing as he co-wrote the screenplay and this was the first film to be released through United Artists, which he formed along with D.W. Griffith, Charlie Chaplin, and Mary Pickford.
Yes, the story is simple, but it works, and I respect it seeing as it set the benchmark for swashbuckling adventure action films and Hollywood escapism.… With the herald of sound, the transition made the Fairbanks swashbuckler a thing of the past (Doug was getting old, too), though natural successors to his mantle were lined up.
Utterly charming and playful in it, Power was a great fit for the role of a masked vigilante masquerading as an effeminate fop when not engaged in swordplay. Douglass Fairbanks is a charming lead alright, setting the stage for the classic swashbuckling hero, there's fun sword fights galore, and cool atmosphere to behold, but my gosh, this movie is a chore to sit through.
Zorro's other personality in uninteresting, there's a love triangle here that slows the movie down terribly, and the supporting characters aren't that emotionally gripping. Here, director Fred Nib lo worked with author Johnston McCully to adapt his 1919 serialized novel “The Curse of Capistrano,” with Douglas Fairbanks serving as Executive Producer and scenario consultant as well as playing the lead role as Don Diego Vega aka Zorro.
Dan was already making a parody of this type of character and ethos in 1917's A Modern Musketeer and at least knew how to shoot action better. The flat compositions are rarely interesting, and even the tableaux style feels less dynamic than other directors who were still working in the form.
At least Dan understood these scenes at an inherently comic proportion that could be exploited, making them at once both something amusing but exciting. Ah, good old Zorro, doling out vigilante justice in the form of disfiguring Z-shaped scars on the faces of those who deserve it, at least as he sees it.
Well, it’s a good thing he’s never wrong, and stands up for the victims of oppression, including some Native Americans and priests. With this film Douglas Fairbanks really launched the character, who just a year before appeared for the first time in a serialized story in a pulp magazine.
Matter fact, he's simply phenomenal in portraying the character of Don Diego Vega, alias Zorro, with a genuine smile on the face and a believable interest for human rights. The setting is also well thought, with a simple but very effective design and a perfect use of props, both in serving the plot development and in enriching the scenography.
This is 1000 times better than Martin Campbell's version of Zorro, which I found awful and boring. It's impossible to dislike Zorro as a character, he's a hero who uses his athleticism, wits and sense of humor equally.
Douglas bought the book much like Hollywood power brokers do today. Douglas is excellent in his dual role as the effeminate count and masked macho.
I enjoy the history and experience of it all but after a while you just wish someone would drop into conversation, even if it's as bad as Tommy Wiseau-esque dialogue. Despite that, this was surprisingly enjoyable for Douglas Fairbanks energy and the engaging stunt work and action kept me on my toes a bit.
The Mark of Zorro has fun with the masked crusader, starting from the beginning when he takes almost 10 minutes to show up to confront a bar of scoundrels. Fairbanks’ Zorro is electrifying, magnetic as he valiantly smiles while he leaps around the room and teases the bad guys before he bests them.
He’s cheeky and talented and a pleasure to watch, and it’s fun to see him keep the enemies on their toes. His swashbuckling persona is deftly realized here, exhibiting all manner of physical prowess with great comical juxtaposition to that of his relatively lame and oafish alter ego; a disguise so convincing that Fairbanks himself practically disappears under some subterfuge transformative makeup.
The story is a typical affair: Zorro seeks to avenge and protect the oppressed masses from those who abuse their power, branding his foes with a signature “Z” to forever mark them as duplicitous né’er do wells. There is a central antagonist, and a love interest to be sure, but neither are terribly well pronounced nor configured beyond the basic mold.
Kobieta potrzebuje aweigh Johanna i odwanego boaters, led potrzebuje sprawiedliwego bronc, weedy Romania she Zorro, --precursor-- Przemek Batman, --1st-- pairs swashbuckler Fairbanks, model swashbuckler, --1st-- pairs FLM United Artists, --1st-- pairs ekranizacja, NFL... Based on the 1919 story The Curse of Capistrano by Johnston McCully, which introduced the masked hero, Zorro, the screenplay was adapted by Fairbanks (as “Elton Thomas”) and Eugene Miller.
Scenes of the love interest getting captured feel silly, granted this might just be because of the time period. Plus: else é o film Que Bruce Wayne for assist com OS pies Na note Que form assassinates e o inspired a SE corner Batman.
With the herald of sound, the transition made the Fairbanks swashbuckler a thing of the past (Doug was getting old, too), though natural successors to his mantle were lined up. Utterly charming and playful in it, Power was a great fit for the role of a masked vigilante masquerading as an effeminate fop when not engaged in swordplay.
Viewed on the 100th anniversary of its premiere in memory of Thomas and Martha Wayne, even though I never knew them because they are fictional characters. National Film Registry entry #504, saved on my DVR since December 12, 2018, for this specific occasion.
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