For this month’s next review for Genre Grandeur – Swashbuckler Films, here’s a review of The Mask of Zorro (1998) by Steve of The Movie Movie Blog Blog
Thanks again to Richard of Kirkham A Movie A Day for choosing this month’s genre.
Next month’s Genre has been chosen by Steve of The Movie Movie Blog Blog and it is Screwball Comedy Films
Please get me your submissions by the 25th of Sep by sending them to email@example.com
Try to think out of the box! Great choice Steve!
Let’s see what Steve thought of this movie:
THE MASK OF ZORRO (1998)
These days, when filmmakers do ironic takes on old movies, you get the feeling they’re serving up spoofs because they don’t have the energy or nerve to do the real thing. But The Mask of Zorro is sincere about updating the old Saturday-matinee hero and, happily, does a darned good job of it.
At first, the storyline makes you fear the worst. The original Zorro (Anthony Hopkins), having been stripped of his wife and daughter by his evil adversary (Stuart Wilson, looking and acting like Mel Brooks on a tear), pulls a “Lethal Weapon” and decides he’s too old for this stuff. Twenty years later, Zorro Sr. recruits a down-on-his-luck bandito (Antonio Banderas) to revive the black-mask-superhero franchise.
But as this is a Steven Spielberg production, what The Mask of Zorro is really about is the art of filmmaking, and it shows what some imaginative people (director Martin Campbell among them) can do with a movie camera. There are some old-fashioned stunts and physical comedy that are carried off just about perfectly here. And usually, these shoot-the-works movies peter out just before the end credits, but this one has the most satisfying adventure-movie wrap-up I’ve seen in a long time.
I wouldn’t have guessed that Hopkins (as Zorro?!) or Banderas had this in them, but they play the most outrageous situations with perfectly straight faces, and it seems to invigorate them. (My only complaint with this gloriously fun movie is the unconvincing youthful look given to Hopkins at the movie’s start. I guess the filmmakers’ love of old-movie conventions extends to bad hair-dye jobs.)
And Banderas and Catherine Zeta-Jones, as the love interest, might just have you swooning with delight (especially with a beaut of a sight gag in which Zeta-Jones is undressed by Banderas in a most unique way).
It’s hard to say how modern-day movie viewers jaded by toy soldiers and destructo-epics will respond to swashbucklers who are presented without a trace of irony. But The Mask of Zorro proves that heroes can still be served up straight, if it’s done with some wit and panache.