“The Mask of Zorro” leaves its mark as a daring, spirited example of the action-adventure genre
A Movie Review Written by Victor DeBonis
When I first saw “The Mask of Zorro” in 1998, I was still 8 years old. My brother and I had gone with a relative to see it in the theater. I was still high through my ever-strong love for Disney and whatever was animated, yet I was also eager to see more action-adventures, and this movie seemed to be right up my alley, based on the advertising. Sitting in that dark theater as I gobbled down Milk Dud after Milk Dud in my small hands, I remember feeling a bit of suspense as those boots loudly rattled with every step as the darkened figure with a familiar cape and hat stepped across the screen the same way that a renowned composer would make his way to the center of his musical podium before conducting an incredible performance. Then, with his sword, he took three thick swipes across the middle screen and literally made his signature “Z” mark across the screen, thus starting what would seal itself in my memory as one of the most powerful movie memories in my mind.
At my young age, I was pretty impressed with what I saw. The way that this mysterious, dark hero with his slick mask and black cape commanded his presence and fought for justice with seriousness and style reminded me so much of Batman, the biggest fictional hero to me, at that time. Yet, I was also entertained by the grounded swordfights on-screen and playful banter between Antonio Banderas and Catherine Zeta-Jones. And, on top of all that, it was the first action movie that I had seen for that time that felt fairly mature for a movie with the PG-13 rating attached to it and had a maturity that other action movies, at that time, didn’t have, even if I couldn’t pinpoint exactly how at that time and with my age. I was highly satisfied with having watched it and would go on to re-watch it whenever it played on the TV later on growing up.
At the age of 30, I re-watched it on Netflix, and, after years of either nodding my head with approval at some works from my childhood era that still hold up and grimacing in shame at others, I can honestly say that this movie maintains the effect of an exceptional flavor of wine. It has only developed greater strength and a more powerful effect on me after all these years. I never truly saw any of the black-and-white Zorro episodes growing up (despite the theme song for the show being incredibly awesome and catchy), but I don’t have to be familiar with that show to recognize the passion and life that flows through bringing this iconic figure onto the big screen for new fans to love and enjoy. On its own, it stands as a prime example of what a great action-adventure movie can be, blending fierce, swashbuckling action with an engaging story and real development from characters who are funny, determined, and daring in plenty of epic and humorous ways. “The Mask of Zorro” is an awesome movie that’s every bit as bold and charming as its titular hero, and it never loses its iron grip on you, flying by with its running time and constantly bringing you joy and amazement along its trail.
Admittedly, when it starts its “heroic figure passing on the torch to a younger figure who needs guidance” narrative, it might sound as though the film is going to mostly follow familiar territory. I can understand the sentiment for not being completely on board with this premise in mind. Countless shows and movies have taken this narrative route before and even in recent times. However, what makes the mentor-student relationship between Hopkins and Banderas excel is steadily yet intensely depicting the furious motivations that drive both of these men to seek for justice and follow their own personal vendettas. We see the strong connection that Hopkins has with his wife and daughter and how much they mean to him, and we see the strong bond between Banderas and his brother from childhood to adulthood. And, we’re also forced to endure the sheer brutality of what happens to the ones that these two men love, so much to the point that we instantly identify with their own fury and pain and make us want them to achieve their sweet revenge as much as they do. Their connection to each other as a mentor to his student that he once inspired long ago, as well as helping the other get closer to reaching their goals, feels genuine and fully realized through how both of these men develop on their paths. Their crossed journeys is further helped by a screenplay by writers John Eskow, Ted Elliott, and Terry Rossio, that is well-paced and sets up the development of the characters and the story perfectly, helping you to understand what drives each of them while also giving the appropriate time for each of their fights and dramatic moments.
In his best work, director Martin Cambell (who we’ll discuss more in a bit) has a knack for handling stories involving enemies that are written in a way that make us want to see more how they get what’s coming to them. In 1995’s “GoldenEye” (one of the finest Bond outings), we were presented with Sean Bean’s villain who shares a past with Brosnan in the same agency in the movie and a brotherly relationship that makes what he does, later on, more affecting and eager for us to see these two face each other. Through “Mask of Zorro,” Campbell brings that same level of devotion to engaging us with seeing our heroes face against these cruel adversaries, largely through how these villains are set up in how distinguished they appear on the surface yet do dreadful acts to others with their own ruthless power.
What makes this movie work so beautifully is its ability to take so many tropes for an action-adventure and give it an epic, unique touch that engages you with this well-paced tale. Take the training scenes in this movie, for example. They take place in this ominous, ancient-looking underground cave that looks as though Zorro had been using it for years and years to hide away or get better at his own skills and pursuits. It looks amazing, and the quiet, shadowed atmosphere of the entire lair brings it greater life through its presence. Additionally, there’s this cool logic that Hopkins utilizes with circles to help guide Banderas towards preparing for facing his opponents. Terrific scenes of intensity happen throughout this sequence, such as Banderas doing push-ups with candles literally burning inches away from his bare chest. There’s a thorough understanding depicted through scenes, such as this, of what makes an action movie engaging, thrilling, comical, and unique with its strong sense of its own world and rules that separate it from other action movies.
The stunts and fight scenes in this movie are remarkable sights to witness. Our heroes accomplish all types of impressive feats, including hopping from the top of one wooden flagpole to another along the side of a multi-storied building and standing atop the backs of two horses at once while riding them. After experiencing a full decade that relies heavily on CGI for its fights and battles, particularly from the MCU, it is beyond refreshing to find a change of pace with the type of action that feels almost completely overlooked, the kind where you see performers actually doing this combination of swordplay and backflips right in front of the camera and your own eyes. It’s filmed and edited in a way that’s not too quick and will allow you to see them trade a fair amount of swipes or blows with each other, while being able to see practically every move made, which is so refreshing to see after having to sit through so many fights either shot too quickly or revised with CGI to mask an obvious flaw or wound. Banderas practically moves like an acrobat in some of his moves through this scenes, doing backflips and such, and it helps from the story’s side that it’s awesome to see him effectively showing his gradual development from being a drunk rogue guided only by anger to a suave, determined hero letting both his heart’s aching desire for justice for people beyond just himself to guide him.
The swashbuckling swordfights are a special treat to witness with three of these actors and their opponents moving with such swiftness and control. The actors in these scenes worked with the late-great Bob Anderson, Olympic English fencer from his time and legendary fight choreographer who worked with fighting scenes from over 50 years of films, including “The Princess Bride” and the “Lord of the Rings” trilogy. It’s been said that the actors would spend over 10 hours each day on fights for this movie, and, as arduous as that type of work must have been for shooting this movie, all of this discipline and training clearly paid off.
Speaking of Banderas, he succeeds wonderfully in playing someone who contains an Errol-Flynn-like suaveness to his personality while still demonstrating a humane ability to occasionally stumble and get angry but ultimately never losing sight of his intensity and coolness as his character develops in the movie. He’s everything that you want to see in a smooth, charming hero with a dark cape and mask who’s in control. Always the incredible performer that he is, Hopkins makes for perfect casting as the original Zorro in this film before passing the torch down to his student. He possesses all of the restraint and nobility that one would anticipate to see from his character, yet he isn’t without his fiery passion and devotion to his people. One glance at the way that he pauses to reflect on something or ponders at something with those stern yet compassionate eyes of his reveals everything that you need to know about the humanity and hurt thriving from deep within his soul. He provides the perfect compass of guiding towards inner and moral strength for Banderas, yet, similar to his protégé, he also isn’t without his moments of humor, particularly through his dryly comical lines.
Catherine Zeta-Jones is an excellent leading woman in this movie. Yes, she is very lovely. However, she also knows how to hold a sword and use it with incredible precision, and she demonstrates a quiet nature and elegance that perfectly disguises her less tamed desires and passions burning within her. She’s not just eye candy or someone who will just say that she will always support this hero. Her character greatly contributes to the film, whether it’s helping Banderas with his own goals and sharing their own romantic longings in funny, different ways or inadvertently reminding Hopkins why he wants justice for what was done to him so long ago through their conversations with each other about their pasts. My heart just aches watching Hopkins talk to Jones and just pondering what must be going through his mind as he tries to conceal the fact that she’s his daughter. The way that his strong shoulders sink and the wounded softness in his voice still lingers with me.
When it comes to the romantic scenes, Banderas and Jones share an undeniable energy in every frame, regardless of whether it comes from their playful swordfights with each other or other scenes. This film is a treat for anyone who might find either Banderas or Jones attractive, and this movie knows and makes the most of making their acting and scenes with each other thrive with romantic passion.
The production design is excellent all around. The setting looks colorful and vibrant in the appropriate places and dusty and old-fashioned in the areas, where they need to be. Plenty of wide shots show off the beauty and vastness of this wide-open Western-style setting, bringing a timeless vibe reminiscent of some of the old-school Western films from decades ago. I admittedly am not as into Western films as some are, but I don’t have to be to appreciate the grand scale of how great these costumes and surroundings look and further illustrate the sense of detail brought by such great film-making.
Another late-great talent in the form of composer James Horner works wonder with the score, bringing a heavy sense of bravado to the action scenes but also making good use of quiet guitar strings and traditional instruments from the culture reflected in the film for the more dramatic moments. Yet, as awesome as his score is, I find my favorite contribution from Horner for his film to be the theme song. Quite simply put, it sounds amazing. All of the gusto and triumph and dashing spirit of this iconic hero is represented perfectly with Horner’s theme song here to the point that I can practically picture Zorro in my mind with his valiant steed as soon as those beautiful, orchestral strings play to great effect. Horner did for Zorro what John Williams did for Superman and Danny Elfman did for Batman in helping create something iconic that will always stick in people’s mind whenever they think of these great heroes.
Director Martin Campbell directs this movie like a pro, utilizing plenty of aforementioned wide shots with the help of cinematographer Phil Meheux to present a fantastic-looking movie but also encourages tons of practical action that one can see and knows how to make heroes look awesome. The same way that Brosnan introduces himself with serious style and jewels when he bungee-jumps off that ledge in “GoldenEye,” Zorro looks amazing as he rides atop his horse that rears back proudly in front of the sunset in a cool slo-mo shot. Between “GoldenEye” and 2006’s “Casino Royale,” Campbell held a knack for reviving the Bond franchise twice, and that same talent remains apparent in “The Mask of Zorro.” With all three of these movies, Campbell was able to bring new life to characters that were well-established for decade but knew how to keep to what made these heroes so memorable and iconic while also adding new layers of thrills and unique developments with their own stories to help bring new audiences in and appreciate them on a different level than the previous generations.
Also, give this movie credit. It has serious jewels. For a movie with its rating that was aiming towards the mainstream crowds, “Mask of Zorro” possesses a surprising toughness and mature nature that isn’t afraid to get uncomfortable in certain places. When I first saw that scene of one of the villains showing the severed head of a man in a jar as a kid, my 8-year-old-self was stunned dead-silent. Even at that age, I was a little taken aback that they could show something, such as that, in a movie with the PG-13 rating attached to it. This movie doesn’t hold back on moments, such as this and the off-putting scene with Hopkins in the prison with the other men, and I still respect the maturity and boldness of a movie that could be incredibly entertaining while still being able to take a few risks in a good way. I’ve always had a little extra respect for shows or movies aiming towards a mainstream crowd or with kids and aren’t afraid to take appropriately dark turns or show tougher scenes and ideas every now and then, and this movie definitely falls into that category. I appreciated how this swashbuckling action-adventure wasn’t afraid to treat younger viewers, such as me, like an adult in the right instances and made the experience resonate more in my mind just as it could do for young viewers watching today.
People, “The Mask of Zorro” is an amazing movie, the type of movie that they just don’t make much of anymore. I know how common that statement tends to be, but, when you look at this film, how many other movies that have played recently can you think of that are like this? How many other action movies place such a heavy emphasis on practical stunts and fights and worlds in front of you instead of relying so much on CGI or a green screen? How many movies nowadays contain a beautifully sung love ballad in their ending credits? (Fun fact/side note: One neat vibe about late 90’s films is that, even if the movie itself was complete dreck, it had a good chance of containing an awesome soundtrack or song that you loved. I miss that a little…)
How many other movies with the PG-13 rating take the dark turns and risks that this film does and take the same amount of time and respect that this movie does with its dramatic moments and show the same level of believable development that Banderas does in one movie? So many past superhero films in recent years, even if they’re really good, tend to have an ongoing snarky sense of humor or rely so much on one-liners to the point that you almost wonder if they’re scared about losing sight of their audience if they try to be more serious for a longer time. This movie actually takes its time, holds an incredibly real feel to it in every corner, isn’t afraid to let the weight of a quieter scene or moment that doesn’t involve furious action or a comedic one-liner, and possesses an incredibly timeless feel with the scale of its own adventure, similar to how “Raiders of the Lost Ark” did.
This film doesn’t have any special themes to speak of or higher ideas, but, also similar to “Raiders,” it raises itself to the highest quality of action and classic film-making that it doesn’t need that. The passion from the characters, the motivations, the action, and everything else displayed on screen helps this movie stand tall as a modern action classic. It’s an example of old-school 90’s film-making demonstrated at its absolute finest, and it’s about as close to perfection as action movies get.
Grade: A+