Zorro

The inimitable Alain Delon is Don Diego De la Vega , a foppish governor and look-alike gay , but he dons a black outfit and becomes the Zorro , the legendary masked , hero of oppressed . Zorro riding in the hoof-prints , relishes his secret identity in cape and blade and help the good people who are mistreated , thwarting the ambitious plans of the meanie official . He battles colonel Huertas (last feature movie by Stanley Baker) and a botcher sergeant (Moustache). Zorro's helped by a deaf and dumb servant (Enzo Cerusico) . Zorro unites forces to Father Francisco (Albertini) and a beautiful aristocrat (Ottavia Piccolo). Zorro-Delon fight evildoers and greedy colonel oppressor, while saving damsel in distress from a fate worse than death . The film is set in salty flavour of Old South American , New Aragon , rather than Old California , though it was filmed in Spain.

Derring-do , feats , adventures , humor and action find this agreeable swashbuckler . Alain Delon runs and jumps , bounds and leaps all over the images and overacting outrageously when plays the queer governor . Delon requested to make this film after enjoying his role in the swashbuckler The Black Tulip (1964) by Christian Jaque . A nice cast keeps the picture moving at a rapid clip, special mention for Giacomo Rossi Stuart as grumpy German lieutenant Von Merkel and Moustache as bungler sergeant Garcia . The exciting final sword duel was inspired by the 1952 swashbuckler Scaramouche by George Sidney . Most of the crew was from Italy and the filming took place in Spain , though studio work was done in Rome , Italy . The motion picture was well-mounted and fast paced by Duccio Tessari , a Spaghetti Western expert.

Other versions about this known personage , as television series starred by Guy Williams during the 60s and the 90s starred by Duncan Regher , as cinema the classic silent version (1920) by Douglas Fairbanks and 'The mark of Zorro' (1940) starred by Tyrone Power and directed by Robert Mamoulian . And , of course , modern rendition titled 'The mark and legend of Zorro' starred by Antonio Banderas and Catherine Zeta Jones and directed by Martin Campbell .

Okay, so I paid $1 for it as a masked double feature DVD. The other film was Clayton Moore's The Lone Ranger, even though the cover featured the '81 Spilsbury schlock-fest. I was mislead by the use of the artwork from the later version of the masked rider of the plains' flick.

However, it was fun. I, like others, actually found the title song addictive in an annoying way.

The cast is good and the action satisfying. I don't mind the movement of Diego as returning son to indebted friend. However, since the villagers all know the mark of Zorro, does this film act as a sort of sequel to a previous version?

Now, if only they could get rid of the overdubbed dog!

Yes - I actually like the strange song featured throughout this film.

As others have commented - growing up in the seventies, this was THE Zorro film, probably my favorite Zorro film... slightly campy, but thoroughly entertaining - reminiscent of the Three & Four Musketeer movies, also from the early seventies.

Alain DeLeon is as good as can be - the film covers all the classic Zorro elements and delivers far better than average fight scenes - especially the finale. Simply fun to watch.

One warning: I purchased a cheap VHS copy and was very disappointed to find it re-edited from the original (which I remember very clearly) - a few scenes are completely botched. Where's the DVD release... with extras?

It's not the slickest Zorro movie ever, or the most faithful version of the Zorro legend, but Alain Delon's "Zorro" is a lot of fun. In a way, its lack of polish works in the movie's favor and gives it a certain amateurish energy and charm, like an energetic high school play.

Alain Delon makes an appropriately aristocratic Diego, and he (or his stuntman) provide an athletic, agile Zorro. The villain, Colonel Huerta, is grandiose in the comic book tradition, and Moustache as Sergeant Garcia is nice and bumptuous. The heroine, Hortensia (wow, what a name) is adequate, and the mute servant is good for a few laughs.

The only complaint I have with this movie is that Zorro theme music. If you've seen the movie, you know what I'm talking about - it's this weird upbeat pop song that they play almost every time Zorro is onscreen: "Here's to you and me / Flying high and free / La la la la la la / Now that Zorro's back!" Now I can't get that song out of my head!

Falling in between Guy Williams' and Antonio Banderas' renditions of the legendary masked figure is this oddball, campy, yet somehow still watchable Spanish-made entry. Delon wears the cape and the mask this time around and does an admirable job for the most part. He disguises his way into the role of governor to a South American province which is riddled with corruption, much of it at the hands of slimy colonel Baker. While Delon (who, in his prime, was one of the most gorgeous men ever created) does well as Zorro and looks dashing in his costume--his blue eyes jutting from behind the mask, he wildly overplays the foppish role of the governor. It's meant to be funny, but it falls short of humorous and winds up rather annoying. In fact, a lot of the humor doesn't seem to translate from what the Spanish consider funny to what American audiences will enjoy. For example, the film offers up a goofy, dim-witted mute, a rotund, hairy guard whose pants rip open and a little "Buckwheat"-style kid for comic relief. None of these is remotely amusing. The strength of the film lies in the animosity and rivalry of Delon and Baker (put to good use as the villain.) The movie is helped immeasurably by some gorgeous locations and a lot of authentic and regal settings. The costumes tend to be pretty decent as well. Also, there are several elaborate stunt sequences. These aspects cover up some of the lack of budget in the picture. Piccolo, as the heroine resembles Linda Blair, excepting that Piccolo can actually act. She makes a lovely damsel in distress. The story is really a duel between the two men. First it's a battle of wits and then an extended, well-executed and staged battle of swords. This creative, elongated battle is the highlight of the film. Unfortunately, the very, very end of the film is choppy, disjointed and unsatisfying. The theme song (heard over and over) is sung by Oliver Onions (!) and should be used in CIA interrogations. It's hellacious lyrics, vocals and music attack the brain and cling on for hours and hours after the film has been viewed.