THE MASK OF ZORRO (1998) *** The vulgar say that revenge is a dish best served cold, but the reality is that revenge is a dish that never gets cold. I would have told you that a star-studded, megabudget Zorro flick was a bad idea. There's always been something organic about the myth, something more in accordance with a three peso dusty glass of wine than a seventy-thousand dollar detonation for effect. But I would have only been half right. Zorro doesn't long for the coliseum, but he fills it and gives it something worthy of universal consideration. It would have been awful without the stars, but the quality of their performances make it right. Antonio Banderas has moments of absolute brilliance as Zorro, Jr.-on a par with Tyrone Power, but more a cross between Ché Guevara and Wile E. Coyote. Anthony Hopkins lends some...not entirely needed, but helpful anyway...gravitas to the situations, and is entirely credible as a long-haired tough guy. Catherine Zeta-Jones offers a spectacular feminine presence to the proceedings. The girl dances passionately, she's hell in a sword fight, and she's a cauldron of barely suppressed eroticism at confession. What more could a young Zorro want? So out of all these fine performances, who is best? I'd say Banderas' comedic horse. Probably because of Hopkins' presence, the political implications of Zorro are also developed. I don't like the independent nation of California as they have it drawn up, but if you'd just slice the I-5 corridor up through Eugene, you'd have something special that would elect neither Reagan nor Nixon. Martin Campbell lets the explosions get a little bit out of control at the end; literal, figurative, and framed; but in his defense it must be remembered that Zorro has always been something of a showman who always gives the people what they want.
back to Brilliant Observations on 1776 Films home
go back home, or send me email
no more reviews! I want to buy your novel!