Don Q Son of Zorro

A sequel to one of Doug's best pictures that rousingly maintains the high standard of the original with much of the action played for laughs as Fairbanks effortlessly sees off the opposition while nonchalantly cracking a whip (even snapping a cigarette from Donald Crisp's mouth at one point!), mounting horses and performing other exhilarating feats of derring do.

Amidst all the macho brawling Lottie Pickford and Stella DeLanti (as the Queen) both make lively impressions in relatively brief roles; the latter early on, the former towards the end.

After his artsy fantasy "The Thief of Baghdad" freaked everyone out, Doug got back to basics with this sequel to his first swashbuckler, "The Mark of Zorro" -- and concocted a meticulously designed, take-no-chances star vehicle. The sets, cast, and screenplay are all impressive but, as always, it's the Fairbanks persona -- an odd combination of pragmatist and dreamer, magician and acrobat, lover and fighter, rogue and moralist -- and his endless bag of tricks, gags, and stunts that sets the film apart from, not only 1920s action spectacles, but those of his successors: Jackie Chan, James Bond, and Indiana Jones.

Of his later pictures, perhaps only "The Gaucho" tops this one for sheer excellence in filmmaking.

Sprightly, only slightly less appealing sequel to Fairbank's first outing as Zorro. Here as Zorro's son, we also get some neat whiptricks and the sight of 2 Fairbanks (as Zorro and his son) in addition to the usual acrobatic stunts. The plot concerns Don Q being sent to the "old country" to study. He ends up framed for a crime by the corrupt officials of the Queen (who are made jealous when Don Q saves their commander from a bull with his whip, impressing the Queen with his courage). Zorro must come over to help him prove his innocence and defeat his enemies in battle.

Dashing Douglas Fairbanks (as Don Cesar de Vega) is the son of the legendary "Zorro", in this spectacular sequel to Mr. Fairbanks' own "The Mark of Zorro" (1920) *********. The younger Fairbanks has been sent to Spain, where he cracks his whip, and soaks up local color. There, he falls in love with pretty Mary Astor (as Dolores de Muro); watch out for the great introduction to Ms. Astor's character, as Fairbanks places wings on her silhouette. You know trouble is brewing when dastardly rival Donald Crisp (as Don Sebastian) is spurned by "belle of the Archduke's ball" Astor. In a fit of anger, Mr. Crisp assassinates Archduke Paul (as Warner Oland), and frames Fairbanks for the killing. Then, Fairbanks fakes his own suicide, and sets out to prove his innocence; eventually, he receives help from father "Zorro" (Fairbanks, in a dual role).

"Don Q, Son of Zorro" is a tremendous sequel, from Fairbanks and company, who wisely viewed follow-ups as a chance to equal, or improve upon, earlier hits. Not surprisingly, it lacks the spontaneity of the earlier film, and it is, perhaps, a little too long. However, the overall production is superior, and the storyline refreshingly unique; as "Don Q", and his story, are quite different than the original "Zorro". Crisp is very helpful, as both villain and director. And, Henry Sharp's photography is top notch.

The cast is terrific: alongside the aforementioned, you have Fairbanks regular Charles Stevens (as Robledo) in one of his more showy roles, otherwise humanitarian Jean Hersholt (as Don Fabrique) playing Crisp's blackmailing nemesis, famous sibling Lottie Pickford (as Lola), and Albert MacQuarrie (as Colonel Matsado) gets to ask Fairbanks: "Who the hell are you?"

The rollout for a Douglas Fairbanks movie during the summer was becoming a much-heralded annual ritual for movie fans. During the steamy days of 1925, the actor/producer released his sequel to the highly successful 1920 "The Mark of Zorro" in July 1925's "Don Q, Son of Zorro." Cinematic special effects created a double of Fairbanks as he appears in the film's later scenes as an aging Don Diego Vega (Zorro) while his son (Fairbanks) is seen in the same frame.

The actor/producer combined the Hesketh-Prichard 1909 novel 'Don Q.'s Love Story' with the Zorro character. Don Q, Cesar, possessed as his main defensive weapon a whip, but was also adept with the sword. And he never wears a mask to hide his identity. The story's location in Spain allows "Don Q" to have a totally different cast of characters, including Cesar's arch love rival, Sebastian (Donald Crisp), head of the Queen's Palace Guard. Crisp, released previously by Buster Keaton for his handling of portions of 1924's "The Navigator," capably directed "Don Q." Crisp was no slouch when it came to directing, sitting in the monogrammed chair for some 70 films before he went full-time acting.

It was an interesting time for lead actress Mary Astor, who played the love interest between Fairbanks and Crisp as Dolores. Just 19 years old and only a three-year veteran of the screen, Astor was one of a number of very young actresses whose parents lived off her salary. After discouraging actor John Barrymore from marrying their daughter while making 1924's "Beau Brummel," Otto and Helen Langhanke (Mary's birth name was Lucile Langhanke before Paramount Pictures changed it) controlled every aspect of her life.

Just after filming "Don Q," Mary was closely kept to her parents' hips when they bought a Moorish-style mansion known as 'Moorcrest,' in the hills above Hollywood just below the recently built famous sign. Charlie Chaplin previously rented the 1921 house, right across the Theosophical Society's utopian community called Krotona. The Langhankes became friends with Marie Hotchener, a Theosophist. When Marie heard the parents were taking Mary's entire $2,500 a week salary to pay the mortgage and other luxury items, she convinced the Langhandes to give their daughter $5 per week as an allowance.

Soon tiring from her father's physical and psychological abuse, Mary climbed out of her bedroom window and sought refuge in a Hollywood hotel. Mrs. Hotchener again became the intermediary between the family and negotiated her return to the parents by forcing them to deposit $500 in her bank account. Mary also supposedly obtained control of her finances, which never happened until she was 26, four years after she had married director Kenneth Hawks, the brother of film director Howard Hawks.