The Legend Of Zorro

Just don't let Zorro, Jr., find the mask

Official Zorro Site
Action/Adventure
Starring Antonio Banderas, Catherine Zeta-Jones, Rufus Sewell
Rated PG (for violence)
Running Time: 130 Minutes
Released:October 28th, 2005







2 Out Of 5 Bites


Not quite so hot off the heels of 1998's The Mask of Zorro- a decent return of the character first played by Douglas Fairbanks, Jr- Antonio Banderas and Catherine Zeta-Jones reprise their roles in Legend. There was, however, a bit more trouble resurrecting the charm and grandiosity of Mask.

Under the same direction of Martin Campbell, it wasn't that the effort was lacking in attempts to recapturing the fresh wit and energy of the preceding installment. Perhaps the film just tried too hard, most notably (and for instance) in establishing comedic relief in Zorro's horse, assigning the equine character with implausible behaviors that bordered on the preposterous and the cartoonish and served only as an unnecessary and unfunny diversion, except for some children I suppose. With that in mind, it isn't altogether unwatchable, it's just tiresome.

Don Alejandro de la Vega (Banderas), as the cantankerous nobleman of Spanish California who doubles as the swashbuckling avenger of the oppressed, is almost unstoppable and untouchable in the physical conflicts. One wonders if that leather whip EVER fails to completely grab sufficiently and at the opportune times to support Zorro as he whips and then flies, careening out of danger from perilous heights.

Zorro's long-suffering wife, Elena, (Zeta-Jones), is immediately pitted against her husband early. She is weary from his escapades and longs for a more suitable quiet family life. And who can blame her? How many husbands could convincingly and persistently don such a costume under such pretenses and disappear doing who-knows-what? Even as Elena is standing there in their first scene together, one still suspects- even through her protestations and through all the bickering that will ensue- she will align and fight alongside her man. But not before she upends him with an ultimatum even the almighty Zorro can't possibly live up to- give up his Zorro-ness and pack it in at home. And with that, he's out the door. Despite a sub-plot of her forced consignment to a US governmental investigation into a nefarious plan (around which the movie revolves) involving the 19th century equivalent to our car bombs, the incessant yipping and bickering between them becomes smothering.

And so, an 1850's era California is on the cusp of statehood with the Union. There are people and shadowy organizations who have other sights set on a dastardly plan to thwart not just the state's plans, but the country as a whole. We are supposed to bemoan the estrangement between Alejandro and Elena while holding out hope that somehow they will forge ahead together again to battle Rufus Sewell's character's organized terroristic machinations (yes, this is 1850's America). Aiding and abetting the disjointed storyline is Alejandro and Elena's son, Joaquin (Adrian Alonso), who, all told, isn't too bad as a child actor here. Sometimes you tend to want him to chill his flitting about like a rabid chipmunk while he's easily accomplishing some rather adult physical feats. And you want the adults to stop acting like children and the horses to start acting like horses.