Don X., fils de Zorro

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?"

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.

Like his father a generation before, a young Californian caballero must fight against treachery & evil in high places.

DON Q SON OF ZORRO was Douglas Fairbanks' rousing sequel to his previous hit film, THE MARK OF ZORRO (1920). Much more expansive & elaborate than the first film, Fairbanks shows what he's learned about producing silent swashbucklers in the intervening five years. Mixing history, spectacle & lots of action, Doug always gave his audience their money's worth.

By this point in his career, Fairbanks was the absolute master of the swashbuckler. Whether romancing a fair señorita, fighting off hordes of enemy swordsmen, or jumping all about the architecture, his infectious grin & superb athletic prowess never fail to charm the viewer. And here he gets to charm twice, playing both father & son very nicely.

Doug is given wonderful support from three excellent character actors: Warner Oland as a silly Austrian Archduke whose foolish behavior precipitates the movie's crisis; Jean Hersholt as a social climbing buffoon who gets more than he bargained for; and vile Donald Crisp (who also directed) as the villain who wants both Fairbanks' life & sweetheart.

Although given little to do, Mary Astor is still a lovely heroine worth the fighting of several duels.

But this remains Fairbanks' film. His powerful personality & spectacular stunts not only dominate the movie, but also have ensured him an unassailable niche in Hollywood history.

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.