Wonderful character development!

Fantastic!

Admirable film.

The movie's neither hopeful in contrived ways, nor hopeless in different contrived ways. Somehow it manages to be wonderful

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.

It's 1820 and Tyrone Power (Diego) is summoned back from his military training in Spain. His father Montagu Love (Alejandro) has sent for him and so he arrives back in Los Angeles, which is basically a town of Mexicans. Overseeing the territory is J Edward Bromberg (Quintero) who keeps the tax money for himself and shares it with his bodyguard Basil Rathbone (Captain Pasquale). These guys are bad, especially Rathbone, and his wife Gale Sondergaard (Inez) is super scheming. What can Tyrone do to help the people……? Well, Zorro shows up……..This is good entertainment and Power is very good in the lead role. As Diego, he is wonderfully camp as he complains of his bath water being tepid amongst other things. There is no way this guy can fight. Well, Rathbone learns different in a memorable fencing sequence towards the end of the film. Power also has a couple of good scenes with Linda Darnell (Lolita), eg, in the chapel when she comes across Zorro disguised as a priest but doesn't realize who he is. There is an amusing bit where she repeatedly bends down to try and look at his face but he is wise to this and bends down with her. The cast is rounded off with Eugene Palette as the likable Padre and George Regas as the nasty Gonzales.As coincidence would have it, I came across the Antonio Banderas version of Zorro in the evening on TV after I had watched this version in the afternoon. As far as I can see, no comparison. The 1940 version wins. Watch out for a crazy stunt as Zorro and horse jump off a bridge into a river – woah!

True story, an old friend called to share with me his view that the best movies were the older Hollywood movies from the 30s and 40s (a view that becomes progressively more controversial in an inverse ratio to the age of the viewer) and I offered to go poking and prodding among my IMDb reviews to pick out 10 "must-see films" that have never been imitated, even in the endless make-a-buck modern remakes. After putting together the list, I noticed that, while I had referenced this specific film in other reviews (most especially my take on the modern Anthony Hopkins re-do where, mysteriously, younger viewers WHO HAD NEVER SEEN THIS VERSION became somewhat irritated at my calling the Hopkins version an abomination, even though I did provide detailed reasons..) I had neglected to actually review this film for IMDb. Mea culpa. I have seen the film a dozen times, I own two DVD copies, so here we go: 1. The Zorro legend commands respect, which means essentially don't monkey with it, as (for example) having two Zorros in the same film (not going to mention any names, you figure out what I am talking about). When A&E did a "biography" of Zorro, they opined that he was likely the first ever "superhero" because of his great skill and the secret identity. No argument from me. 2. This version is very faithful to the original story, with brilliant casting (some say Power's best film, period) and flawless direction by Rouben Mamoulian. Darnell is perfect as the shy young damsel who becomes progressively less shy when she has a chance to snag the man of her dreams. Rathbone (who, to be fair, did make a wonderful Holmes) is UNFORGETTABLE as the bad guy. 3. The climax represents the best of everything Hollywood stood for in the period. When Power decides to forgo the secret identity and challenge Rathbone outright, there ensues THE LONGEST AND MOST PERFECTLY FILMED SWORD FIGHT IN Hollywood HISTORY to that point in time. 4. As much as I would love to prattle on about this film, just writing this review compels me to go watch it again, so, kind reader, you will have finish the review without me...**POSTSCRIPT** The other 9 films in the list I prepared for my pal were, in no special order: Lady in the Lake (1947) The Devil and Daniel Webster (1941 Portrait of Jennie (1948) Sullivan's Travels (1941) The Magnificent Ambersons (1942) The Thief of Bagdad (1940) Death Takes a Holiday (1934) The Man Who Could Work Miracles (1936) Here Comes Mr. Jordan (1941).

I am a Zorro freak! I have watched all the old serial editions and one of my very favorite books is Isabelle Allende's Zorro, which takes place in Spain before he comes to California.Forget the Antonio Banderas versions. There is nothing that can match Tyrone Power's Mark of Zorro. He is Zorro. He plays the perfect fop - almost a gay caricature - discussing fabrics and dancing with the wife of the evil Alcante. But, in his double life, he is the Saviour of the people and fights to restore his father to the position.The duel at the end with Capitan Estaban (Basil Rathbone) is some of the best swordplay you will ever see. (In another life, I was a great fencing master). The musical score by Alfred Newman, well, it's Alfred Newman, and he is one of the very best.If you want to see how Zorro should be really played, you have to see Tyrone Power. That's just the way it is.