The burning question today is whether or not Alain Delon is worth watching as the man in black.
This can’t really be considered an “old timey” film since it dates from 1975. There’s too much franchise history preceding it for it to be cliche making in its own right, but it certainly provides enough material for later films to rip off. I can clearly envision the scriptwriter for 1998′s “The Mask of Zorro” sitting and watching this film, notepad before him and pen in hand.
But… What a great film. This film is fantastic.
It’s a zorro film, so you know what you’re getting. Zorro. A suave eliteist villan. He shoots a priest. What kind of bad guy shoots a priest? A zorro bad guy, that’s who. A beautiful dark haired woman who is courted by Zorro and the villain. A populace whose main role in the film is to be oppressed and to cheer Zorro when he kicks the soldiers into the water trough.
The comic relief is fat and harbours a bumbling malignance. He’s everything a bad guy’s sidekick should be. Our poor sargeant follows in a long and illustrious tradition of pudgy, poorly acted funny men, and he solidifies the role for the others who have succeeded him. Hmm… Perhaps ‘succeeded’ is the wrong word.
But tell me, why is it that when Zorro comes to a marketplace to ensure that peasants recieve fair payment for their wares, he only manages to lead the guards around the entire market, destroying all the goods and scaring all the livestock? There’s got to be a better way to lead the people to prosperity than destruction of capital.
Soldiers group up in convenient bunches to be felled by boards, nets, ropes, rolling barrels… and yes, the falling chandelier.
Zorro makes his sign with whatever is on hand: Sword, whip… If you fought Zorro in a bakery, he’d probably manage to wreck your shirt with an icing bag. (Hmmmm.. I wonder what kind of tip Zorro would use?)
The little kids are wonderful, classic on-screen children. “It’s de sign of Zorro! Zorro! Zorro? Zorrooo!”
“Zorro! He’s alive! Zorro can never die!”
The end fight scene is terrific. Our combatants wander halfway across the nation, destroying tapestries, mirrors and furniture along the way. They recklessly discard swords and pick up axes, spears and firebrands as they go. I’m not sure I’ve ever seen a more drawn out fight sequence.
Yes, it’s all there, just like you’ve come to love and expect. But yet, somehow, you don’t know what you’re getting. This film transcends what you may have come to expect from a Zorro film.
It has a talking dog. Remarkably the dog plays a fairly important role and is capable of taking down an entire cavalry troop.
It has a servant who seems to have failed the Harpo Marx audition.
It has a title track featuring such poetry as,
“Here’s to being free, lalalalalalala, Zorro’s back.
Here’s to flying high, lalalalalalala, Zorro’s back.
…
Here’s to being free, here’s to you and me.”
Sung by Oliver Onions. I swear, you can’t make this stuff up.
And why do the opening credits roll the name,
“Moustache”?
