The Legend of Zorro REVIEW

I enjoy a good swashbuckling adventure film as much as the next guy, but beyond that, I’ve never been much of a sword-fighting enthusiast. So, to make sure I had that base covered, I brought along a friend of mine to the “Legend of Zorro” screening who happens to be just that. Upon exiting the theater, his general response was the same as mine: “I didn’t know they made movies like that anymore.” And I’m pretty sure neither of us meant that in the good sense. We were referring not to the good old days of Tyrone Power having it out with Basil Rathbone in 1940s “The Mark of Zorro”, but more to the overtly kiddie-friendly action movie blowouts of the 1980s, before the tonally dark times of Tim Burton’s “Batman” and the like. To be sure, this “Zorro” feels like it was created in a lab twenty years ago, intended to be the perfect big screen family thrill ride of yesteryear. Zorro often soars through the air, moves with sleek, modern super-hero precision, and somehow manages to never kill anyone, smiling all the way. The fact that our hero didn’t seriously unsheathe his sword until around the one-hour mark didn’t make much of a difference to my friend. I’m pretty sure he had already written this off at the point when Zorro has to repeatedly scold his horse for drinking booze, smoking, etc. But all that said, “The Legend of Zorro” certainly has its share of rip-roaring moments - although the fact that a pack of ten-year-old boys (this film’s target audience), were very bored throughout doesn’t bode well for long-term box office.

I only saw the “original” “The Mask of Zorro” once, when it came out back in the summer of 1998. I remember not enjoying it on the whole, but very much enjoying parts of it. “The Legend of Zorro”, with returning stars Antonio Banderas and Catherine Zeta-Jones, as well as ace action director Martin Campbell, put on an unapologetically escapist show of action daring-do mixed with a good dose of domestic angst. Wait a minute – “domestic angst”? Yeah, I know. This film can be good rollicking fun (if semi-brainless) one moment, but when Zorro has to go home and face his dejected wife (Zeta-Jones), who feels to be a distant second to her husband’s cape and mask, things hit the skids in more ways than one. It isn’t long before she leaves him, and takes up with an aristocratic villain who’s out to sabotage California’s all-important bid for statehood. Of course this depresses our hero, and confuses their young son (played impressively by Adrian Alonso), who does not know the truth about his father. But we see that the kid’s got a lot of Zorro in him, as demostrated during his inexplicably acrobatic action sequence set in a classroom. The bored ten-year-old boys in the theater better had liked that, because I know that scene wasn’t included for my benefit.

On the plus side, we see Zorro as a man sincere in his beliefs regarding patriotism, family and religion. In a time when most heroes are really anti-heroes, and such values are often tossed aside in favor if pursuit of the self, it’s refreshing to see a traditional take such as this in an otherwise nearly-terminally ramped-up movie. Zorro knows what’s important, and we know that it’s only a matter of time before his estranged wife sees that in him. In the meantime, allowing for Zeta-Jones’ risen star status since this role first made her famous, we spend an awful lot of time with her. This being a modern action film, it should be no surprise that she’s got as much courage and skill as her leading man. What does come as a surprise is the impressive level of plastic surgery apparently available in 1850 Los Angeles. Who knew?

Martin Campbell (“GoldenEye”) does great with his trademark action scenes, but falters with the abrupt tonal shifts to Zorro’s family woes. If I remember correctly, uneven pacing was also a problem with his previous “Zorro” film. James Horner’s music evokes that film both shamelessly and effectively, often simultaneously. I don’t know if it’s fair to accuse Horner of ripping off his own previous “Mask of Zorro” score, but at least we don’t have to hear Marc Anthony sing "I Want To Spend My Lifetime Loving You" again. Banderas really does make a great Zorro, but the fact that I’m not getting around to mentioning his performance until now should tell you a thing or two about this movie. If they ever get around to doing a third “Zorro” film with these actors (and if so, let’s hope it doesn’t take another eight years), I’d love to see a slightly grittier and scaled down version of the hero. (Or, maybe I should just watch “The Mark of Zorro” again?) Then, the actor behind the mask could truly shine. As it stands now, Banderas’ spoof of his Zorro persona in “Shrek 2” is still considerably more memorable than him in the source role.

I was about to say that at least you won’t be bored at “The Legend of Zorro”, but then I remembered the ten-year-old boys. It does have some really fun moments – I spent the film wavering back and forth between cringing and boyish delight – and when it ended, I was momentarily satisfied. Then I remembered the high-flying son of Zorro, Zorro’s hard-drinkin’ horse, and a generally blander state of things than a film like this should ever have, but all too often do. If you liked the other Campbell/Banderas “Zorro” movie, I’m thinking you may also like this one. Just don’t go in looking for too much swordplay, and be ready for a lot of corn-flavored excitement (and, yes, domestic angst).

- Jim Tudor