THE LEGEND OF ZORRO

US, 2005, 129 minutes, Colour.
Antonio Banderas, Catherine Zeta- Jones, Adrian Alonzo, Giulio Oscar Mechoso, Nick Chinlund, Rufus Sewell.
Directed by Martin Campbell.

Action, romance and comedy. Ingredients for a crowd-pleaser. Capitalising on the huge popularity of 1998’s The Mask of Zorro, stars, director and many of the production team have come together again to bring us what may well be one of the most popular films of 2005.

It comes as something of a surprise to learn that Zorro was created for a 1919 novel, ‘The Curse of Capistrano’ by an American writer, Jackson Mc Cully. Almost immediately, Zorro starred in a silent film in the form of the swashbuckling Douglas Fairbanks, who then appeared as Son of Zorro in 1925. Since then he has been continually on screen, including a 1930s serial of twelve episodes, a television series in the 1950s and many films. For those who enjoy some internet research, there are 69 entries under the name of Zorro in the Internet Movie Database!

This time around, Antonio Banderas and Catherine Zeta- Jones have settled down into a comfortable family life with their son, Joaquin. But, of course, that is all on the surface. Don Aleyandro is always available when the mission bell tolls and the people need Zorro. This happens as soon as the film starts. It is the day of voting for California to become the 50th state of the Union. Everyone is rejoicing to become American and free. However, the vote does not go smoothly. They seem to have had far more trouble and disturbance in old California than in modern Iraq. Robber barons try to steal the ballot papers. Zorro to the rescue. With athletic prowess and skilful stunts and special effects, the film is off and definitely running.

This is really old-fashioned film making on a contemporary big-budget and none the less entertaining for that. James Horner’s score with orchestra crescendos, guitars and castanets keeps us in the mood. The 19th century costumes and décor evoke the past. The continuous cliff-hanging climaxes capitalise on our eagerness for excitement. And, by the end, with Zorro, his wife and son disarmed and at the mercy of the villain, you don’t exactly fear for Zorro and the family but wonder how on earth they can all possibly get out of this fix. It does not spoil the ending to know that they do!

Antonio Banderas still cuts a dashing figure as Zorro. He is matched by Catherine Zeta- Jones as Elena. In The Mask of Zorro, she had to join in the sword-fights and she does again. It reminds us, even though there are punch-ups and knocking people on the head, sword fights look visually spectacular.

There is a literally ugly villain played by Nick Chidlund and a suave villain, a British actor, of course, Rufus Sewell. There is always a grandee with ambitious plans for self-aggrandisement. However, this time the writers have been absorbing Da Vinci Code conspiracies and present us with another variation: the Knights of Aragon whose sway in Europe is being menaced by the power of the United States and who, therefore, must resort to sabotage. They plan to produce a weapon of mass destruction in a plant hidden underground, nitro-glycerine, and, with the help of Southern Army generals, explode bombs in Washington DC.

The serial-like scenario is not without its parallels with contemporary American world leadership issues and terrorist attacks.

One of the reasons given for the continued popularity of Zorro is that he is a hero of the people, a defender of ordinary people’s rights against ruthless and greedy oppressors. He is a mysterious masked man who, unlike the comic book heroes with special powers, relies on his own wit and stamina and sense of justice to do good.

1. The popularity of the original film? Audience expectations? Critical dismissal of the film? Audience enjoyment?

2. Zorro popular since 1919, the novels, the many films, serials and television series? The legend? An ordinary hero, defending the poor, gymnastic and athletic, the swordfights, the champion of justice?

3. The sets and the design, the 1850s, the town, the hacienda, the vineyards, Armand’s mansion, the plan for the production of nitroglycerine, the train? The special effects, especially the explosions?

4. The enjoyment of the stunts, athletic? For Zorro, for Elena, for Joaquin?

5. This film and its contribution to the continuing legend of Zorro – Zorro in middle age? The touch of the serious, the touch of the comic?

6. California in the 1850s, the vote to join the Union? The very strong pro-American stances? Mc Givens and his attack, taking the ballot box, Zorro to the rescue, fighting, on the bridge, winning and taking back the ballot box? The three months necessary for the ratification of the joining to the Union?

7. Aleyandro and his skills, his friendship with the friar, his difficulties with his son? The derring-do as Zorro? At home, with Elena? The life of a fop – drinking and playing cars with the other grandees in the bars etc? A cover for Zorro?

8. Mc Givens and his brutality, wanting the land, the threatening of the couple, the siege of the house, the deaths, Zorro and his confronting Mc Givens? The explosion and the huge crater in the ground?

9. The Pinkerton officers, their watching Elena, kidnapping her and her fighting back? Forcing her to institute divorce proceedings – and the reaction of Aleyandro? His drinking, complaints? The support of Fra Felipe? Relying on him for advice? The encounters with Elena in public?

10. Armand, his butler, his French title? His mansion? The hospitality, the ball, Aleyandro going – and creating a scene with Elena? Armand’s love for Elena? The incident in the marketplace, the buying of the pipe? The revelation of the truth, the Knights of Aragon, his plan, his assessment of the United States and its power, the nitroglycerine and the combining with the military from the southern states? The fights with Zorro? His capturing the three – sparing Zorro’s life for the moment? On the train, the elaborate fight, on the roof? The changing of the tracks – and the ending and his dying in the explosion?

11. The anticipation of the Civil War, loyalties of the south, the interest in California, power, European assistance?

12. Mc Givens, his thugs, the confrontations, the taking of Joaquin, his escape, taking the soap? The gang – and Mc Givens and the final explosion?

13. The nitroglycerine, its manufacture, the soap? Joaquin and his capture, rescued by his father? Learning the truth about his father and his admiration? Getting him out of the jail?

14. The proclamation, the danger for the people assembled, Joaquin and his changing the rail line? The final crash?

15. Fra Felipe, his continued support, knowing the secrets, helping Joaquin? The confrontation in the church, Mc Givens shooting him – and the irony of his being saved by the cross? The religious motifs throughout the film – and Zorro praying before the statue?

16. The happy ending, the family – and Zorro still at the service of the people?

17. The overtones of old-fashioned action adventures, the serials with their cliffhangers – and matinee enjoyment?