The Mask Of Zorro
**1/2 (out of 4 = Okay/average)
1998, PG-13, 136 minutes [2 hours, 16 minutes]
[thriller]
Starring: Antonio Banderas (Alejandro Murrieta/Zorro), Anthony Hopkins (Don Diego de la Vega/Zorro) Catherine Zeta-Jones (Elena), Stuart Wilson (Don Rafael Montero); written by Ted Elliott, John Eskow, Randall Jahnson, Terry Rossio; produced by Doug Claybourne, David Foster; directed by Martin Campbell.
Seen August 9, 1998 at 9:15 p.m. at Rotterdam Square Cinemas (Rotterdam, NY), theater #3, by myself for free using my Sony/Loews critic's pass. [Theater rating: ***: good picture, sound, and seats]
If there was any doubt that all Hollywood summer movies are lacking originality, consider this: "The Mask Of Zorro," which takes place in the mid-1800s, has an action scene once every 10 or 15 minutes, has a scene in which a woman is stripped to her underwear while sword fighting, and ends with an explosion so huge it rivals something from the "Terminator" films. Were these events really typical of the time?
The film opens with a disclaimer quickly explaining the background of the story. The villain, Don Rafael Montero (Wilson), is briefly described as being some kind of corrupt leader from Spain governing the colonies of what is now California. I may be wrong on this account, but the film's opening scene makes the "logical" explanation to the story's background seem silly because when we see Montero about to have three innocent men executed just to draw out Zorro, that tells us all we really need to know.
Of course Zorro appears and a terrific scene of action and drama ensues and it's actually exciting and suspenseful at the time. We're not concerned with the story behind the action, as long as there is action. Montero is a classic bad guy with his precisely-groomed mustache, slicked hair, fancy clothes, crooked smirk, and of course a wicked laugh. Wilson fills the role nicely, making Montero an easy-to-hate villain, so much so it's hard to tell if he's over-acting or if the script is really so trite.
And yet the film's opening works due to its simplicity and over-the-top action. The initial atmosphere is lighthearted enough to take the zaniness of it all in stride, so when Zorro single-handedly defeats 20 armed men, we don't notice how cartoony the violence is, or how the fighting is so obviously choreographed, or why the guards in the tower wait until two kids drop a statue on them before they start firing their rifles.
It's unfortunate the film could not have had such a breezy spirit during its "serious" aspects. We learn the true identity of Zorro is Don Diego de la Vega (Hopkins), who appears to be a man of some importance, which is why Montero claims to have always loved de la Vega's wife (why don't heroes ever marry ugly women to keep the villain from trying to steal them?). Tragedy instantly strikes our hero and thus the film flash-forwards to 20 years later to provide just the right subplots, themes, and new conflicts and characters to give Zorro a reason to resurface.
The real reason for a new Zorro is the film's star, Antonio Banderas. Banderas is a good actor and he certainly seems to be having fun here as Alejandro Murrieta, one half of an infamous pair of sibling criminals. He is approached by de la Vega to wear the mask of Zorro and once again fight against the corrupt Montero who is using slave labor at a secret gold mine as part of an elaborate conspiracy to buy California.
It is from here on that the story becomes little more than a series of scenes stitched together to provide for action, undercover work, and a romantic subplot between Alejandro and Montero's "daughter" Elena (Zeta-Jones). Minor elements such as Alenjandro's attempt to steal a horse turn into elaborate fight and chase scenes. In the spirit of "Indiana Jones" the action is mixed with comedy and slapstick, which is appealing because of the cartoony nature of it all. But the more dramatic scenes which further the plot are presented as if they were Shakespeare (especially anything involving Montero's evil schemes).
Zorro is one of the most underrated and least utilized characters of 20th century fiction. Although he isn't unlike Batman in his quest to fight for the people, he doesn't have many gadgets and must rely on his own skills to solve mysteries and win battles. Although these aspects of the character is played up well, it's just about the only aspect the film focuses on. No background on the character is given such as where he originated from, whether he is one man or part of a secret society, where the original Zorro learned his skills, and most importantly, why he risks his life to do the things he does. de la Vega claims Zorro is a servant of the people, but not once do either men seem to care for anyone other than themselves and their love for Elena.
Throughout "The Mask Of Zorro" I kept picturing the screenwriters arguing over plots, scenes, and lines of dialogue. Perhaps they wrote in shifts without regard to continuity, as there would be many good scenes in a row, and then everything would go sour quickly. But in the end it is really the Hollywood machine at blame for trying to fix something that wasn't broken.
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