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Nice effects though.

The story-telling is good with flashbacks.The film is both funny and heartbreaking. You smile in a scene and get a soulcrushing revelation in the next.

Although I seem to have had higher expectations than I thought, the movie is super entertaining.

A young aristocrat must masquerade as a fop in order to maintain his secret identity of Zorro as he restores justice to early California.I did not really know much about Zorro. I was not aware his secret identity had his as sort of a buffoon and ladies man. But I like that about him. And I like that, just like Superman or other heroes, it creates the scenario where someone can be attracted to one personality and not the other... or sometimes both, without even knowing! Some people have compared this to the "Adventures of Robin Hood". Is that fair? I do not know. But the consensus is that this is the better of the two. With that, I would have to agree. It is a fun story with all sorts of political intrigue that Robin Hood just cannot match.

THE MARK OF ZORRO is certainly a lively and entertaining film for its era, a movie that manages to surpass THE ADVENTURES OF ROBIN HOOD in terms of spectacle and excitement. And it absolutely destroys the modern-day adaptations of the story starring Antonio Banderas that seem positively dreadful by comparison.The simple storyline sees Hollywood star Tyrone Power playing a double role: he's a mild-mannered aristocrat by day, and a vengeful, Robin Hood-style outlaw by night. Of course, this kind of narrative is entirely predictable, but the film's format is kept strong thanks to decent black and white cinematography and some good characterisations that feel reminiscent of a spaghetti western.Power proves himself a likable and athletic hero - it was the first time I'd seen him in action - and he's more than matched by the excellent Basil Rathbone as a villain. THE MARK OF ZORRO also contains the best bit of fencing ever put on film, an extended duel that easily becomes one of the best fight scenes ever put on film, a real highlight of a good-natured and thoroughly enjoyable movie.

one of most impressive duel scenes. the mixture of humor and tension. and the lead role as the best cloth for Tyron Power. it is a film who shatters the nostalgic references and who gives a total entertainment , does an inspired example of adventure and has the rare gift to create a splendid portrait of joy. nothing, in this case, is not a sketch. the characters, the plot, the acting. all has deep roots and the final impression is to discover a precise work in which each part has mark of thoroughly care. maybe, the best Zorro, it remains memorable. a movie who must see it. not as link of cinema history but for its special beauty. and, maybe, for the flavor of a manner to do a real good film.

"The Mark of Zorro" was clearly 20 Century Fox's answer to the spectacular success of Warner Brothers' "The Adventures of Robin Hood". Many of the same elements are present, including a swashbuckling outlaw hero fighting against the ruthless and greedy forces of oppression while winning a beautiful and virtuous heroine. They even managed to engage many of the same supporting cast; including Eugene Palette reprising his role of the hero's priest-friend, Basil Rathbone as a sword-wielding villain, and Montague Love (as a good guy this time). Rathbone, in particular, stands out in one of his most effective portrayals in a long series of classic villains, one every bit as memorable as the one he portrayed in Robin Hood. The plot itself is a re-do of the classic 1920 silent film that cemented Douglas Fairbanks' reputation as an international film idol. With so much of The Mark of Zorro being a re-hash of elements that had been done before, it stands to reason that the production would have to have been carried off extremely well in order to have had any impact. In fact, it was done very well indeed. To star in a vehicle such as this you need an actor with great presence and charisma and, at that time, Tyrone Power had that in spades. He was clearly intended to be 20th Century Fox's answer to Errol Flynn, a role that he unquestionably pulled off, particularly in the period before the war (the Tyrone Power who returned from military service in the war was a far more mature actor, one less suited to the former swashbuckling roles). Power's Zorro is less athletic than Douglas Fairbanks' version, but then no actor, with the sole possible exception of Burt Lancaster, could ever hope to approach Fairbanks in that department. However, there is little dispute that Power was at his very best at the time he made The Mark of Zorro.Power's co-star, Linda Darnell, who was still only 17 years old, was just beginning the period of her best work when this film was made. Unfortunately, she was given little to do in this film, besides look beautiful (with which she had no trouble). It is also unfortunate for Darnell that she shared most of her scenes with one of the screen's finest character actresses, the much-unappreciated Gale Sondergaard. That is no aspersion on the talent of Darnell, because Sondergaard was fully capable of stealing scenes from the best scenery-chewers in the business, including the likes of Betty Davis and Claude Rains. For example, during the same period when Zorro was produced, Sondergaard was also featured in the cast of "The Letter", in which she memorably dominated a scene shared with no less an acting presence than Bette Davis, and did it without even uttering a single word of dialogue!A movie like the "The Mark of Zorro" wouldn't work unless all the elements, actors, sets, costumes, music score and direction, come together. In this particular case, everything came together perfectly.