THE MARK OF ZORRO, 1920
Movie Review

Based on the story The Curse of Capistrano by Johnston McCulley. Story by Eugene Miller, scenario by Douglas Fairbanks

In old Spanish California, the oppressive colonial government is opposed by Zorro, masked champion of the people, who appears out of nowhere with flashing sword and an athletic sense of humor, scarring the faces of evildoers with his Mark. Meanwhile, beautiful Lolita is courted by villainous Captain Ramon, rich but effete Don Diego... and dashing Zorro, who is never seen at the same time as Don Diego. As Zorro continues to evade pursuit, Ramon puts the damsel in distress...

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REVIEW:

This movie is the mother of all action films. Whenever a dark knight climbs a building, or Jackie Chan kicks the crap out of someone, here is the story that set the standard. More importantly, it defined the theme of action heroes, which is to fight corruption and injustice, a theme that unwittingly served as a metaphor for the ideal of America itself.

And no crude prototype, either. Star Douglas Fairbanks and director Fred Niblo crafted a story of great humor and style. Niblo’s genius for staging includes theatrical blocking and lighting; he knew how to hold a dramatic pose. The last act, twenty minutes of sheer fun, is like the chariot race in Ben Hur 1925, also directed by Niblo; despite advances in technology, it really hasn’t been surpassed or improved on.

Neither has its star. The dashing “King of Hollywood” had a mega-wattage smile and superb athleticism. When he jumps off a balcony, he jumps off a balcony. He did his own stunts without sophisticated fight machinery or any of the current tricks of the trade. What you see is what he did.

The lead character is the real Zorro, not the faux Zorro that creeps around in modern projects. Don Diego de Vega, a wealthy young nobleman, is appalled by Governor Alvarado (George Periolat) and Sgt. Gonzales (Noah Beery, Wallace Beery's brother) for their injustice against the people in the “pueblo” of Los Angeles. To protect his true intentions, Don Diego poses as a hunched-over fop who shuffles around so enervated he naps frequently in the middle of the day.

He needs his sleep. At night, with the help of his loyal mute servant Bernardo (Tote Du Crow), he morphs into Zorro. Hidden behind a mask, riding a black horse, a black cape swirling behind him, he seeks vengeance against the authorities, carving the occasional “Z” on someone’s cheek.

His father Don Alejandro (Sidney De Gray) is disgusted by his son. He frequently stomps out when Don Diego performs scarf tricks, one being a bunny that takes a pinch of snuff. But the man is keen for grandchildren, so he sends Don Diego to court Lolita Pulido (Marguerite De La Motte).

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THE MARK OF ZORRO