Le signe de Zorro

... there is just something mesmerizing about Douglas Fairbanks at work, the way he moves about. He's just a joy to watch.

Fairbanks plays Zorro, the masked dispenser of justice to Spaniards who abuse the natives in old California. Since the powers that be don't care much for being lectured, shown up in swordplay, or having Z carved into their foreheads, he wears a mask that - realistically - wouldn't fool anybody who knew him anymore than Batman's mask would fool anybody who knew him. Zorro is actually Don Diego Vega, who pretends being the listless fool in order to deflect suspicion that he might be Zorro. His father, though disappointed in Don, insists that he get married to continue the family line. His father thus arranges him to court Christina Pulido, another nobleman's daughter. Since Don doesn't want to marry a woman who loves his money, he talks up his money when he visits her, but also plays the fool. When she is genuinely repulsed, he figures this is a sign she is a quality woman, and he returns as Zorro to woo her.

The romance in this film drags on just a little too long, and it's the only place where the production really shows its age. When it is Zorro and his athletic exploits onstage, laughing in the face of danger, the time flies by. I'd recommend this 100 plus year old film.

Besides being entertaining in itself, "The Mark of Zorro" also provides Douglas Fairbanks with a nice showcase, in a dual role that gives him plenty of good material to work with. While other versions of the Zorro legends are now more familiar to present-day audiences, this one is probably still better than any of the others except for the 1940 version with Tyrone Power.

The 1998 update had big names and a big budget, but it was of much lower quality, glossy and over-played at a number of points, and with too much material of comic-book quality at other times.

Fairbanks works nicely both as Don Diego and as Zorro, and he gets opportunities to display many different talents. He gets to display his swash-buckling yet easy-going persona, and then at other times is able to show a more refined, sometimes vulnerable side. Not only does he make both personalities work, but he melds them together into a believable whole, not so much by means of artifice as by the vigor and sincerity of his screen presence.

The story, likewise, presents an interesting situation that works Fairbanks in well with the other characters. Though they are less interesting in themselves, the secondary characters each play a useful role in the story and in the ideas that it suggests. This old version of the Zorro tale holds up well - at least for those who enjoy silent movies - and it presents a nicely paced and entertaining story.

THE MARK OF ZORRO (United Artists, 1920), directed by Fred Niblo, based on the novel "The Curse of Capristano," marked the debut of Douglas Fairbanks in what he does best, swashbuckling adventure. This also set the pattern for other masked heroes created in later years, ranging from The Lone Ranger to comic book heroes as Spider-Man or Batman, among others.

The story, set in the 19th century, focuses on the corruption in politics in Old California in which a mysterious masked man dressed in a dark cloak, avenges the wrongs of the community, and leaving his "Z" mark with his sword wherever he goes, even, as with the very first shot in the opening of the story, on the cheek of one of the soldiers. The question to this mystery is "who is this masked man known as Zorro?", the man who wants to right the injustices done to the common people. At the same time, there is Don Diego Vega (Douglas Fairbanks), a young man who has just returned from his education in Spain to be with his father, appearing to all as a foppish weakling whose more interested in music and poetry than fighting for the common cause. He even gives the impression that no woman would ever marry him. Even the beautiful Lolita (Marguerite De La Motte) finds Don Diego not to her liking but Zorro fascinating. But of course, as with the mild-mannered reporter of Clark Kent turning into Superman, Don Diego Vega becomes Zorro when necessary, full of confidence and quick with the sword, plus sporting his flashing smile, especially after winning his defeat.

Also seen in the supporting cast are Noah Beery as Sergeant Gonzalez; Robert McKim as Captain Ramon; Charles Hill Mailes as Don Carlos; Walt Whitman as Frey Felipe, among others. Beery as Gonzalez has one of his most memorable moments on screen in a well staged presentation in which he crosses swords with Zorro. Other noteworthy scenes include Zorro's rescuing a Padre from being flogged; and Zorro's climax which he swings into action avenging with enemies of the state.

Marguerite De La Motte, whose name isn't that well known today, was a frequent Fairbanks co-star and notably his favorite leading lady. Aside from THE MARK OF ZORRO, she and Fairbanks appeared in ARIZONA (1918), the modern-day comedy titled THE NUT (1921); THE THREE MUSKETEERS (1921), and its sequel, THE IRON MASK (1929). She was in her day what Olivia De Havilland was to swashbuckler Errol Flynn in his adventure sagas of the 1930s and '40s, a decorative co-star.

Obviously a big success in 1920, and ranking one of the best known comedic adventures of the silent screen, THE MARK OF ZORRO did enjoy frequent TV revivals, especially on public television way back in 1971 during its popular 13-week series of THE SILENT YEARS as hosted by Orson Welles, which print, from the Killiam collection, features color tinting and an excellent piano score by William Perry. Over the years, THE MARK OF ZORRO has been available on video cassette, notably through Blackhawk Video, others with different underscoring, ranging from organ score to even slow playing violins, but none can beat the great Perry piano score, which helps the presentation this silent movie move along at a very fast pace. As the popularity of cable television began to increase by the 1980s, THE MARK OF ZORRO did play to a new audience on Arts and Entertainment (A&E) before going on American Movie Classics (with organ score) and Turner Classic Movies (first with the William Perry piano score on its "Silent Sunday Nights" presentations, then, years later, with restored print with corrected silent speed and new but unexceptional orchestral score).

Hollywood has seen other Zorros in the future, the best known being the 1940 sound remake for 20th Century-Fox starring another screen team of Tyrone Power and Linda Darnell; Reed Hadley in the Republic chaptered serial, ZORRO'S FIGHTING LEGION (1939); as well as the Disney TV series of the 1950s starring Guy Williams, for which baby boomers of that era remember so well. All these actors manage present Zorro in their own original style, none trying to copy or rip-off the Fairbanks carnation, but all owing to the Fairbanks character.

THE MARK OF ZORRO included a sequel, fortunately not ZORRO 2, as it would be titled today, but as DON Q, SON OF ZORRO, in 1925, in which Fairbanks plays both father and son, with the son dominating the storyline. Fairbanks original screen hero comes to life in this fast-paced 90 minute adventure (there is also a video presentation that includes it in video acu-speed running nearly two hours) which seems to improve with each repeated viewing, especially with the great William Perry piano score. Long live the legend of Zorro.(***)

Douglas Fairbanks played two roles in his movie career, but in many ways, it seems he only really played one. The first act was in modern comedies, where he often played some ineffectual urban dweller who leaps (often literally) at an opportunity for some adventure or other transformative experience that is in harmony with his exuberance and charm, while winning the affections of the leading lady. The second act of his career began here, with "The Mark of Zorro"--the historical action adventure, costume swashbuckler. This one doesn't have quite the lavish productions values as in some of his later pictures, such as "Robin Hood" (1922) and "The Thief of Bagdad" (1924), but the premise is the same. Moreover, Edward M. Langley's sets seem historically appropriate and well done for the time, and Fairbanks is supported by a well-rounded cast (including a very hammy Noah Beery) and director Fred Niblo, who would continue after this as an expert in producing such historical spectacles.

Like the contemporary comedies, the swashbucklers similarly highlight Fairbanks's talents; both are suitable vehicles for his graceful athleticism, boyish masculinity and pep, his smile and light sense of humor. His acrobatics are on full display in this one's climax. Fairbanks does seem to relish the dual roles here, playing Don Diego as a goof, to contrast his noble, graceful Zorro. Fairbanks's role here can't be overstated. He controlled his persona and productions as much as any star back then, producing for his own production company and contributing to scenarios. Reportedly, the "Z" mark of Zorro was a visual motif invented here, and Fairbanks also improvised much of the foppish nature of the Don Diego secret identity, which, however, was quite similar to some of the characters he played in his earlier comedies (i.e. in the first part of "The Mollycoddle" (1920) and "The Lamb" (1915)). Moreover, Zorro was Doug's earlier comedy persona unleashed from the constraints of modern society, and his foppish Don Diego was him pretending to still be constrained—only inversions of his earlier roles. Additionally, Fairbanks spent considerable time being trained by experts for the swordplay and stunts, and the effort clearly paid off. "The Mark of Zorro" is a light, enjoyable vehicle for his talents, and it's also an important touchstone in film history—popularizing the pulp magazine creation of Zorro, establishing the American swashbuckler, action-adventure film and its archetypal hero, while doing so with Doug's characteristic grace, smile and contagious sense of fun.

Enjoyable silent film provided with a musical soundtrack by TCM.

DOUGLAS FAIRBANKS is the famous masked bandit, balancing a nice sense of humor and heroics, demonstrating the athletic side of Don Diego which has to be hidden by the more effete man who tires so easily. He's a Spanish version of the Scarlet Pimpernel. MARGUERITE DE LA MOTTE is a lovely heroine and ROBERT McKIM does everything but twirl his mustache as the villain from whose clutches Fairbanks must rescue the damsel in distress.

Obviously a high-budget production with rich settings, nicely photographed in Sepia or blue tints for the night scenes. What's really astonishing is Fairbanks doing all those climbing stunts in the last reel, with so much ease. Full of youthful vigor and high spirits, he found a role that suited him to perfection, able to show two sides of his personality with charm and/or vigor while not ignoring the stunts that made him famous.

It's an enjoyable and swaggering adventure, remade many times in the future, most notably with the 1940 sound version starring Tyrone Power, Linda Darnell and Basil Rathbone.

Summing up: Familiar yarn, well done and standing the test of time better than many other silent films thanks to good production values.