THE MARK OF ZORRO

REVIEWED BY CHARITY BISHOP

Our rating: 4 out of 5

Because of: innuendo, language

Rated:

A little-known and much overlooked television classic, this 1974 film starring Frank Langella as Zorro is definitely worth keeping an eye out for on cable television, or tracking down on eBay. It is not as glamorous or cheeky as 1998's Hollywood blockbuster The Mask of Zorro, but I love it just as much.

Trim and athletic Diego Vega (Langella) finds himself well at home in Madrid among friends who admire him both for his swordplay and his riding skills. But trouble brews in California and his mother urges him to return, avoiding any specifics. Leaving the scented breezes of Spain behind, he returns to find his homeland much altered. The people are unhappy and poverty-stricken, and particularly hate the acalde -- a position his honorable father holds. Traveling to his former hacienda, Diego is shocked to learn his father has been removed as governor and a man by the name of Quintero (Robert Middleton) instilled in his place. A cruel and greedy aristocrat with a conniving, unfaithful wife (Louise Sorel), Quintero strikes fear into the hearts of the people through the brutal tactics of his military captain, Esteban (Ricardo Montalban).

Feeling it wise to keep a low profile, Diego professes that he dislikes intensely swordplay, a sport Esteban delights in, and makes himself out to be an idiotic fop, a trickster, and a fool. Returning home, he learns further that his father dares not strike out at Quintero for what trouble it may cause the local peasantry. In a moment of inspiration, Diego steals his father's sword and becomes the man known as Zorro, a black rider once feared in Spanish legend for acts of courage and bravo against evil opposition. Working often at night and alone he begins to turn the tide, using the church as a means of restoring exorbitant taxes to the people while encouraging Quintero as Diego to return to Spain.

But life as a double opportunist has its difficulties. Alejandro (Gilbert Roland) does not like to believe his prized only son has become a buffoon, playing willingly into the hands of Captain Esteban, who would arrange a marriage between Diego and Quintero's niece, Teresa (Anne Archer). The young woman is torn between a man she greatly admires (the masked rider) and the worthless Spanish don she is promised to wed. Then there is Captain Esteban, who is madly jealous of Inez Quintero's interest in young Diego Vega. Time is running short for Zorro; can he learn a way free of this devious web of intrigue which surrounds him without betraying his family, his honor, and his good name?

Although dated, this film has a lot going for it. True, it's a pure carbon copy of the Tyrone Powers movie by the same name, but has several aspects the original doesn't. Frank Langella is a much more consummate actress than Powers was. He manages to be both intensely attractive and appalling, inter-changing between his role as worthless fop and passionately driven young man with roguish delight. Some of his close-ups reveal the true nature of Diego beyond the charade he puts on for the Quinteros, Fray Felipe, Teresa, and even his parents. As the intensely bored Don Diego, he fairly reeks of hilarity with such classic lines as 'I had no say in my father's marriage; I do not see why he should have a say in mine!' At one point he bemoans the anguish of tepid bathwater improperly scented, to the great distress of his future fiancée, who is certain she is about to be married to a complete idiot.

As the true Diego, yet another emotion bleeds forth, and it is this man who is so appealing on screen. His eyes are expressive and meaningful, his facial expressions unique. One can easily see why Teresa loves him intensely for his passion. Then too is his Zorro -- one would hardly believe they were one in the same. Too many movies about the man in black ask us to believe no one would recognize an actor we know at a distance. This Zorro is much more believable. His mask conceals more of his face and the eye holes are cut in such a way to make him look startlingly different. When he finally rips off his mask, we are able to believe his opponent is truly shocked by the realization of who he is fencing with. 'So,' says his opponent, 'inside the peacock we find a hawk!' The supporting cast also turns in a fine performance.

The dialogue is romantic, wrought with wit, and often tinged with subtle irony. 'I knew a man in Madrid sort of like this Zorro chap,' says Diego in all seriousness at one point, '... only his mark was the sign of a cross. Brilliant -- they all are, you know. He used to slit his victims from ear to ear. No warning. I do admire you for staying, Acalde. Any lesser man would not risk it.' The film is also surprisingly light on problematic content. There is some violent swordplay. A few men are stabbed and killed, and one is thrown over a wall with a bloody Z carved into his chest after he's seen whipping the local padre. Inez Quintero flirts relentlessly with Diego, who responds in kind; but there is nothing sexual between them, as it is merely a ploy. Diego comes to Teresa's room to speak with her, and kisses her before he leaves. There is no English profanity, but some Spanish curses do pop up: Santa Maria (Saint Mary) and Madre Dios (Mother of God) are muttered.

It's a charming movie unfortunately unavailable on video. But if you ever see it listed on a local station, make sure to tape it. I guarantee you'll adore it as I do.