Cast:
Tyrone Power (Don Diego Vega/Zorro), Linda Darnell (Lolita Quintero), Basil Rathbone (Captain Esteban Pasquale), Gale Sondergaard (Inez Quintero), Eugene Pallette (Friar Felipe), J. Edward Bromberg (Don Luis Quintero), Montagu Love (Don Alejandro Vega), Janet Beecher (Senora Isabella Vega), George Regas (Sergeant Gonzales), Chris-Pin Martin (Turnkey), and Robert Lowery (Rodrigo) Directed by Rouben Mamoulian (#773 - Applause)
Review:
Zorro, if you remember correctly, originally appeared in serialized form in 1919 from author Johnston McCulley, which went under the title as "The Curse of Capistrano" (it has since been published as The Mark of Zorro). As such, the first film adaptation came with The Mark of Zorro (1920), with Douglas Fairbanks as the adventurous one-man force that served as a co-writer, producer, and star. 20th Century Fox had the rights to do a remake when they bought them from Fairbanks, although it did not stop other stories to be adapted involving the character as created by McCulley, such as Republic Pictures making The Bold Caballero (1936). Of course, Tyrone Power is an ideal matinee idol to take the helm as the title lead. The Cincinnati native was an actor as was the case with his Irish great-grandfather (the original Tyrone Power), his grandmother (Ethel Lavenu), and his father (Tyrone Sr.). He appeared in films starting in 1932, but it was his appearance in his fifth with Lloyd's of London (1936) that made him into a screen presence worth seeing on the screen over and over, and he was only 22. At the helm of director was a solid successor from Fred Niblo in Rouben Mamoulian. He had emigrated from the Russian Empire to England before to direct plays before moving to the States to teach and direct opera/theatre. He would direct a variety of productions even after entering film such as Oklahoma! and Carousel. His first film was Applause (1929), an early sound feature, but his best-known feature is probably Dr. Jekyll and Mr. Hyde (1931). He would direct films on a regular basis from 1929 to 1942 (with two more films afterwards) that did a variety of genres (noir, musicals, adventure) while also serving as a founding father for the Directors Guild of America; he died at the age of 90 in 1987. Six years before his death, Zorro, the Gay Blade (1981) was dedicated to him as a tribute to the classic adventure portrayed in this film.
The screenplay was done by John Taintor Foote while the story was done by Garrett Fort and Bess Meredyth. One other key tribute came with the world of comic books, as it is one of the parts of the original origin-story of Batman (whose parents were killed after a screening of the movie); Zorro in general proved an inspiration to the concept of Batman as devised by Bob Kane and Bill Finger, since both characters are folks presenting themselves as rich playboys while secretly fighting crime in a dark costume. Coincidentally, this film has a member of the cast in Robert Lowery, who would become the second actor to play the character of Batman in a film serial later in the 1940s. This film and The Adventures of Robin Hood (1938) share two actors basically playing the same type of character with Rathbone and Pallette. It might not be as great as the original feature in terms of outright professionalism and newness (i.e. not being the first great Zorro adventure), but it does make for a solid adventure film with enough reason to exist with a capable lead and all-around charm to make it just as interesting for the curious moviegoer to view hand in hand with past and future Zorro movies. Mamoulian achieves a film with plenty of fluid engagement and rhythm that achieves plenty in 94 minutes. The balance of narrative and action is done to where one isn't aching to see too much of one over the other, moving along with smiles rather than gloom. Power plays the double act required in the title lead with worthy screen presence, dashing in the moments needed for his public face but also riveting when it comes to being the man in black with an accompanying tight drawl. He might be young, but he has the presence of an old soul that probably would've fit well in a variety of action eras (sure, Zorro should probably be played by someone of a different ethnicity when it comes to helping people living in California before it became a state, but one must pick their battles when it comes to older films). Darnell and Power have semi-decent chemistry together despite the age difference (ten years between the 26-year old Power and, well...) with at least some sort of general innocence to make things look semi-solid (Sondergaard does seem more intrigued to be in the same room with Power at times though). Pallette is the ideal pairing with Power in heroic accomplice for all of his drawing power in voice qualities and timing. Bromberg makes for a decent stooge pretender, although Rathbone is the key other highlight, one with dignified ruthlessness that simmers well against Power in the ways expected to help make its ultimate endpoint quite worth it (of course, he was quite good with fencing to where he did not need to have a double). Fred Cavens helped choregraph the fencing sequence while his son Albert served as a stunt double for Power in shots from behind, which means one isn't watching sequences of folks jumping around while trying to fence (not that there's anything wrong with that, since it is execution that matters more than anything). The funny thing is that it isn't the final part of the film, since there's still a bit of time left to wrap things up, which works out just fine, bookending itself in throwing a sword into the air with winking convenience. As a whole, it runs at a slick rate that will dazzle all whoever heard of the term "matinee" and lined up to see it with rapt attention, packed with energy that has not dulled over the prevailing eight decades since release that shows how one can re-adapt prior material and make it seem fresh and worthy of viewing for audiences that other films wish they could do so well.
Overall, I give it 8 out of 10 stars.
Next Time: Sanshiro Sugata.
