The Mark of Zorro

Fairbanks, a jack of all trades (having co-written the script as well as starring and doing his own stunts) is at his best here as Zorro, the Spanish defender of the weak, which spawned at least a dozen more movies based on this (and a TV series, too.) The plot deals with Don Diego Vega, a playful young man who, when not making finger puppets on the wall or doing tricks with handkerchiefs, is prone to fatigue. But his father disapproves of such madness, suggesting that he marry the daughter Lolita, (Marguerite Del La Motte) of a family out of favor with the Governor of California. Unimpressed with Don Diego, the girl is instead in love with Zorro (also Fairbanks, which obviously means Don Diego IS Zorro.) But she has another suitor - in the form of Zorro's mortal enemy, Captain Ramon. And he and his men (including Noah Beery, who's part was an inspiration for the rotund captain in the TV series) will stop at nothing to capture him. Will Zorro save California? Will Don Diego and Lolita fall in love? Can Zorro finish his breakfast without being interrupted? Just sit back and enjoy Fairbanks's amazing stunts (which remind one of Buster Keaton) and remember: "Never do anything on an empty stomach - except eat!"

If you've seen the other incarnations of Zorro before seeing this black-and-white silent version, you may think this one is going to be boring. Wrong! Because it is silent, the visuals kept me captivated; much more seems to be conveyed through gestures and body language than in a film in which the characters speak. The accompanying organ music is masterfully matched to the action (when someone slams a hand down on to a table, there is an appropriate "thump" in the music.) Best of all, though, is watching the legendary Douglas Fairbanks in some of his trademark athletic leaps, which appear effortless. I have to say that this is one of the very best versions 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.

Hooray for Doug!!! He is the epitome of the dashing swashbuckler and set the standard for all that followed.......and some of them were damn good but Fairbanks had it all. He flashed those teeth and swung from tree to building, across tables and onto the backs of horses......and without a stunt double. What a guy.

The film tells the story that we all know due to remakes and a successful TV series (with a great theme song). The foppish Don Diego, is a terrible disappointment to his father and to his intended wife. He appears to be always "fatigued" and uses a silk handkerchief to indicate his ennui. It's a perfect cover for his alter ego, Zorro, the Robin Hood of old California.

The acting in this silent is overall quite good even though Noah Beery Sr. is a little over the top in a couple of scenes......well, most of his scenes are rather hammy. (It must have run in the family for I found his brother Wallace pretty hammy himself). But Fairbanks is the reason for seeing this film. He is a ball of fire and looks like he had a great time playing this part......and you'll have a great time watching him. He's "that bold renegade, carves a Z with his blade, a Z that stands for Zorro". What fun!!!!!!!!!

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.