the mask of zorro movie review

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"The Mask of Zorro" has something you don't often see in modern action pictures: a sense of honor. The character takes sides, good vs. evil, and blood debts are nursed down through the generations. It also has a lot of zest, humor, energy and swordplay; it's fun, and not an insult to the intelligence.

The movie resurrects a character first played in silent films by Douglas Fairbanks Sr., and again on TV in the 1950s by Guy Williams, and launches him in what the producers no doubt hope will be a series. The director, Martin Campbell , did the Bond picture "GoldenEye," and in a sense "The Mask of Zorro" is a Bond picture on horseback: There's the megalomaniac villain, the plan to take over the world (or, in this case, California), the training of the hero, the bold entry into the enemy's social world, the romance with the bad guy's stepdaughter, and the sensational stunts. There's even the always-popular situation where the hero and the girl start out in a deadly struggle and end up in each other's arms.

All of this action is set in Mexico and California as it was in the first half of the 19th century, when the evil Don Rafael Montero ( Stuart Wilson ) rules the land, chooses peasants at random to be shot by a firing squad, and earns the enmity of the mysterious masked man Zorro.

In an opening setup, Zorro interrupts a public killing, inspires the population, and escapes back into domestic bliss. He's played by Anthony Hopkins , who in his daytime identity as Don Diego de la Vega has a beautiful wife and child. But Don Rafael invades his home, his men shoot the wife, Don Diego is imprisoned, and Don Rafael raises the daughter as his own.

Twenty years pass, and the movie's central story begins. It involves a street urchin named Alejandro, once befriended by Zorro, now grown into a bandit played by Antonio Banderas . Alejandro and Don Diego, now older and gray, meet and join forces, and Don Diego trains the youth to inherit the legend of Zorro. "You know how to use that?" the old man asks, pointing to the younger one's sword. "Yes," he says, "the point goes into the other man." Ah, but it's not as simple as that, and after lessons in fencing, horsemanship, hand-to-hand combat and the arts of swinging from ropes and somersaulting out of danger, the older man thinks the younger one might be ready to foil old Don Rafael's plans. There's just one final lesson: "I must teach you something that is completely beyond your reach--charm." Don Rafael's plans have now matured: He's amassed a fortune in gold from secret mines on Mexican land, and now wants to use the gold to buy California from Gen. Santa Ana, who needs cash to fund his war against the United States. Since the gold is really Santa Ana's, this is a brilliant plan--if Don Rafael can pull it off. As the rich plot unfolds, the new young Zorro, disguised as a Spanish nobleman, infiltrates Don Rafael's social circle, and romance blossoms between the newcomer and the beautiful daughter, Elena ( Catherine Zeta-Jones ).

The best scenes in the movie are between Banderas and Zeta-Jones, who share chemistry and, it turns out, a sense of justice. There is a dance at Don Rafael's house, at which the daughter and the visitor take over the dance floor in a passionate pas de deux, and another scene where the outlaw hides in a confessional, and listens with great interest as the young woman confesses her feelings of lust for a mysterious masked man. All of these threads come together in what starts as a duel to the death between the man and the woman, and ends in a surprised embrace.

The movie celebrates the kind of Western location shooting that's rarely seen these days: horses and haciendas, gold mines and dungeons, and a virtuoso display of horsemanship. The back story, involving the first Zorro's abiding love for the daughter who was stolen from him, is pure melodrama, but Anthony Hopkins brings it as much dignity and pathos as possible, and Zeta-Jones does a good job of handling the wide-eyed, heaving bosom, tears-in-eyes kind of stuff.

The film is a display of traditional movie craftsmanship, especially at the level of the screenplay, which respects the characters and story and doesn't simply use them for dialogue breaks between action sequences. It's a reminder of the time when stunts and special effects were integrated into stories, rather than the other way around. And in giving full weight to the supporting characters and casting them with strong actors,"The Mask of Zorro" is involving as well as entertaining. I was surprised by how much I enjoyed it.

Roger Ebert

Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013. In 1975, he won the Pulitzer Prize for distinguished criticism.

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The Mask of Zorro (1998)

Rated PG-13

136 minutes

Antonio Banderas as Alejandro/Zorro

Anthony Hopkins as Don Diego/Zorro

Catherine Zeta-Jones as Elena Montero

Stuart Wilson as Don Rafael Montero

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The mask of zorro, common sense media reviewers.

Violent '90s action-adventure epic has some gore.

A Lot or a Little?

What you will—and won't—find in this movie.

The film emphasizes the values of heroism in freei

While on the whole a cartoonish legend, Zorro as s

Unsurprisingly, there is quite a bit of sword figh

A playful scene in which the younger Zorro's swash

One of the lead characters gets severely drunk in

Parents need to know that The Mask of Zorro is a 1998 action movie in which Anthony Hopkins plays the aging legendary swashbuckling hero. Unsurprisingly, there is quite a bit of sword fighting and swashbuckling. Some of the sword violence is comedic in the form of pratfalls and debonair one-liners. There is…

Positive Messages

The film emphasizes the values of heroism in freeing the oppressed from the yoke of tyranny. However, the villains are amoral (see severed head and hands). Economic injustice is the subtext beneath the action; Zorro fights corrupt Spanish governors and wealthy landowners who enslave the peasants.

Positive Role Models

While on the whole a cartoonish legend, Zorro as shown in this movie fights economic injustice, somewhat akin to Robin Hood.

Violence & Scariness

Unsurprisingly, there is quite a bit of sword fighting and swashbuckling. Some of the fighting is comical pratfall violence, some of it is straight-up violent. A bandito shoots himself in the chest to avoid getting shot by the authorities. A horse kicks a man to death. A woman is shot and killed. Peasants are shown enslaved while working a mine -- they are chained and whipped, and while they are put in cages, one of the antagonists lights dynamite with the intent to blow them up along with the El Dorado mine. One of the antagonists keeps a severed head in a container and a severed hand in a bowl. Character killed while pulled off a ledge by a cart. Fighting with rifles, shotguns, pistols, and knives.

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Sex, Romance & Nudity

A playful scene in which the younger Zorro's swashbuckling results in Elena's top falling off. He then kisses her, as she covers her bare breasts with his hat. Men left tied up with their pants down, buttocks exposed.

Did you know you can flag iffy content? Adjust limits for Sex, Romance & Nudity in your kid's entertainment guide.

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Drinking, Drugs & Smoking

One of the lead characters gets severely drunk in a saloon. Wine and tequila drinking at social affairs, dinners, secret meetings. Cigarette smoking.

Did you know you can flag iffy content? Adjust limits for Drinking, Drugs & Smoking in your kid's entertainment guide.

Parents Need to Know

Parents need to know that The Mask of Zorro is a 1998 action movie in which Anthony Hopkins plays the aging legendary swashbuckling hero. Unsurprisingly, there is quite a bit of sword fighting and swashbuckling. Some of the sword violence is comedic in the form of pratfalls and debonair one-liners. There is also fighting with guns, rifles, knives, and dynamite. A woman is shot and killed. Peasants are enslaved in a gold mine -- they are shown whipped, beaten, and kept in cages. One of the bad guys keeps a decapitated head in a glass container as well as a severed hand in a glass bowl. Zorro hits a large man in the head repeatedly with two cannonballs until he spits out his teeth and dies. During a sword fight, a woman's top is sliced off; her hair strategically covers her breasts. Brief male nudity, nonsexual: A group of men fighting Zorro end up tied up with their pants down, buttocks exposed. There is cigarette smoking and some drinking: One of the lead characters is shown drunk in a saloon mourning his brother's death. Wine and tequila drinking at social functions. "Damn" is heard. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

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• Parents say (5)
• Kids say (13)

Based on 5 parent reviews

Swashbuckling film with corny jokes...this is an endorsement!

What's the story.

THE MASK OF ZORRO is built upon the development of the father-son relationship and engagingly explores the family dynamics that result. The story begins with Diego de la Vegas' (Anthony Hopkins) capture by Don Rafael Montero (Stuart Wilson), an evil American cavalry officer. Montero murders Zorro's wife and steals his infant child, Elena ( Catherine Zeta-Jones ). Twenty years later, the former Zorro seeks to train a younger replacement so that he may avenge the death of his wife and retrieve his now grown daughter. Zorro chooses Alejandro Murrieta (Antonio Banderas) as his protégé. Together, they battle Montero with courage and bravery.

Is It Any Good?

The Mask of Zorro rises above the banal Hollywood action film due to the fine performances of Anthony Hopkins and Antonio Banderas as the old and young Zorros. The overall plot is quite engaging and offers the traditional fun of watching heroes vanquish evil villains. However, if viewing a high-quality film with your child is what you are after, it's best to look elsewhere. The violence and gore may be too much for sensitive kids, as well.

Talk to Your Kids About ...

Families can talk about the role adults have in training their children as future citizens. As with most action movies, the ambiguous morality of revenge is the film's central concern. Is it right for both Zorros to devote their lives to violence to avenge the wrongful deaths of their loved ones? When does justice become vigilantism? What is the proper role of individuals in righting clear social wrongs that are depicted in the film?

Beneath the action of the movie is the subtext of economic injustice. How does the movie convey this economic injustice, and how does this play into Zorro's overall motivations?

Zorro was a book character first created in 1919. Since then he has appeared in books, films, and television. Why do you think Zorro has a timeless appeal?

Movie Details

• In theaters : July 17, 1998
• On DVD or streaming : December 1, 1998
• Cast : Anthony Hopkins , Antonio Banderas , Catherine Zeta-Jones
• Director : Martin Campbell
• Studio : Columbia Tristar
• Genre : Action/Adventure
• Run time : 137 minutes
• MPAA rating : PG-13
• MPAA explanation : some intense action and violence
• Last updated : April 12, 2024

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The Mask of Zorro (1998)

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The Mask of Zorro Reviews

“The Mask of Zorro” is easily the best action adventure film of the summer. It has everything you could desire, great acting, great romance and an exciting plot.

Full Review | Original Score: 3/4 | Oct 5, 2023

A terrifically entertaining movie, and at heart, an old-fashioned adventure.

Full Review | Original Score: B+ | Jun 20, 2023

Old-fashioned entertainment of the best sort.

Full Review | Original Score: 3.5/4 | Mar 19, 2023

... "Mask" [is] a tale of generations, of what myths and legends mean when they are gone, and of the price invaders pay when they underestimate the populace.

Full Review | Mar 15, 2023

A very competent actioner, even when it dwells on overly intricate (or convenient) setups for poignant encounters or showdowns.

Full Review | Original Score: 8/10 | Mar 24, 2021

This Zorro bears more in common with his distant grandson Indiana Jones than he does with his more direct descendant, Batman.

Full Review | Original Score: 7/10 | Dec 19, 2020

A lot of fun.

Full Review | Original Score: 3/5 | Aug 7, 2020

There are several reasons why The Mask of Zorro was so successful, beginning with the cast.

Full Review | Original Score: 4.5/5 | May 7, 2020

The Mask of Zorro is one of those rare instances where everything just falls into place,

Full Review | Original Score: 5/5 | Nov 16, 2018

The problem with Martin Campbell's new movie is that, even though by no means a disgrace, it's finally just another inflated big nothing.

Full Review | Nov 27, 2017

Simplistic but sprawling action film...

Full Review | Jun 6, 2013

This is the best movie version of Zorro to date, and High-Definition makes it that much more exciting.

Full Review | Original Score: 7/10 | Feb 26, 2012

Full Review | Original Score: B | Sep 7, 2011

The Mask of Zorro stands as a pointed riposte to those who say they don't make 'em like that anymore.

Full Review | Mar 26, 2009

Full Review | Original Score: A- | Oct 29, 2008

Crisp and competent and often witty, but it only does what it's supposed to do; it's never quite inspired or exhilarating...

Full Review | Original Score: B- | Mar 11, 2008

Directed with snap and panache by Martin Campbell, Mask of Zorro gives audiences a pair of dashing whippersnappers for the price of one.

Full Review | Original Score: 3/4 | Aug 14, 2006

Not so much a blood-pounding swashbuckling adventure as it is a comfortable old friend--the kind of movie your grandfather might have seen at a Saturday matinee.

Full Review | Original Score: 3.5/4 | May 26, 2006

Full Review | Original Score: 2.5/5 | Dec 6, 2005

Buckling the swash in a way approaching Errol Flynn, Antonio is up for the action and handles the slapstick as the inept student with aplomb. The romance between him and Zeta-Jones has sparks, too.

Full Review | Original Score: B | Apr 9, 2005

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Eye For Film >> Movies >> The Mask Of Zorro (1998) Film Review

The mask of zorro.

Reviewed by: Angus Wolfe Murray

With the flash of a smile, a graceful leap from a high balcony and mastery of athletic fencing, buckles are swashed again, and the spirit of Flynn returns to the silver screen. Not so long ago, Cutthroat Island demonstrated that derring-do doesn't in pirate movies, causing financial ague amongst investors and instant ennui from everyone else.

No longer. Kiwi director, Martin Campbell, nudges a wink at the genre, without going so far as to cast Leslie Nielsen in the lead. A balance is struck. Be serious about the swordplay and have fun with the rest. Bob Anderson, who started his movie career as a fight choreographer after the 1952 Olympics when Errol the Perril invited him onto the set of Master Of Ballantrae, provided the tutelage and the swordsmanship is akin to gymnastics.

Zorro began life in a 1919 pulp novel. Since then two movies (Douglas Fairbanks in the Twenties, Tyrone Power in the Forties) and a TV series have camped him up something rotten. As a Mexican masked hero, who protects peasants from the cruelties of the Spanish upper-class, he has the instincts of Robin Hood and enough hot-blooded passion to hyperventilate swooning senoritas.

Played here by a dashing older man, Dr Lecter himself, he has the privilege of being treated with respect, as Anthony Hopkins does nothing by halves and would be incapable of walking through a role with the casualness of, say, George Clooney . At the moment when Zorro is thinking of sheathing his blade in favour of responsible parenthood, the wicked Spanish governor (Stuart Wilson) of what will become California throws him in a dungeon, burns his house, kills his wife and steals his baby girl.

Twenty years later, he escapes and takes on a pupil, Alejandro (Antonio Banderas), whose experience as a bandit has been tragically marred by incompetence. Alejandro worships the memory of Zorro, as do the suffering poor. Soon, after a strict training regime, which he does not like at all, he gets to wear the mask and fight the good fight.

Banderas is adept at comedy and more than a match for Flynn in chandelier swinging. His swordsmanship is complimented by an energy and commitment that exemplifies the film. Campbell has encouraged enthusiasm amongst the cast and welcomes exuberance. Hopkins holds the centre with great dignity and Catherine Zeta-Jones is more than a pretty face, as Zorro's grown-up daughter. She fights like a lynx and, naturally, fancies the audacious Allejandro. Who wouldn't?

Director: Martin Campbell

Writer: John Eskow, Ted Elliott, Terry Rossio

Starring: Antonio Banderas, Anthony Hopkins, Catherine Zeta-Jones, José María de Tavira, Diego Sieres, William Marquez, Stuart Wilson, Tony Amendola

Runtime: 136 minutes

Country: US

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The Mask of Zorro

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Movie Review

With the acrobatic slash of a steel blade and the mark of a “Z,” he defends the weak and oppressed. Who is this masked man? In 1820, Mexicans called him Zorro. In 1998, many parents of older teens—especially thrill-seeking males—are calling him the best thing to happen to action/adventure movies since Raiders of the Lost Ark .

The Mask of Zorro recaptures the swashbuckling heroism of classic Hollywood serials while avoiding many of the corrosive elements common among modern action films. Sex? None. Inappropriate language? Not a single profanity! And even its frequent flurries of violence (which earned Zorro a PG-13 rating) aren’t unduly explicit or gratuitous. In dispatching bad guys, Zorro humiliates more scoundrels than he eliminates. Furthermore, this humble, chivalrous champion of the people is a dedicated husband and father.

Early in the story, Don Diego de la Vega (Anthony Hopkins as the original Zorro) is tracked down by his powerful arch-rival, Don Rafael Montero, a scheming politician who imprisons Don Diego and steals his baby daughter to raise as his own. Twenty years pass. After escaping from prison, Don Diego encounters a roguish outlaw (Antonio Banderas) who has his own score to settle with Montero, and recruits him to become the next Zorro. Don Diego must harness the young man’s arrogant rage, transform him into an elegant hero . . . and reconnect with the daughter who doesn’t know he exists.

Despite being one of the year’s most pleasant cinematic surprises, The Mask of Zorro isn’t for everyone. In addition to violent moments, cautions involve alcohol use, quests for vengeance, steamy Latin dancing and brief rear nudity of banditos tied to a cactus. Zorro also cuts a woman’s clothing from her body with his sword (her long hair and clever camera angles obscure her nudity). Hiding in a church, young Zorro tells a woman confessing lust, “The only sin would be to deny what your heart truly feels.” Disappointing. These scenes may cause some families to pass on Zorro . But for others seeking a light in a dark genre, this is the brightest one to come along in quite some time.

Bob Smithouser

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The Mask Of Zorro Review

10 Oct 1998

116 minutes

Mask Of Zorro, The

Playing to the flamboyant tune of a topmark Bond movie, albeit set in a late 19th century Mexican held California, Martin Campbell's spirited rendition of the Latino Robin Hood is a splendidly straightforward adventure movie - dedicated to delivering the richest in action, humour and hot-blooded romance, while being well aware that in a comic book world of dashing heroics, silliness is a privilege not a complaint. And no manner of undiluted Welsh accents, achingly old-hat slapstick routines (come in comedy horse, your time is up) and vastly implausible swordplay can nullify the enjoyment levels of this treasurable nonsense.

Impeccably cast, Banderas is one of the few gorgeous leading men willing to temper their straight-up heroic stuff with a twinkle of self-deprecation, pulling off as many laughs as gasps at his flashing blade. He is the new Zorro, tutored to duelling perfection and gentlemanliness by Hopkins' old Zorro - recently absconded from his 20-year imprisonment by his long-standing nemesis Don Rafael (Wilson). That swine also kidnapped his baby daughter to bring her up as his own. And she, naturally enough, has grown up to be ravishing beauty Elena (played with spicy vigour by a ravishing Zeta-Jones) getting all hot round the heaving bosom for this new masked hero romping around the luxurious Californian villas to bedevil the wicked plans of the sneering Rafael and his coterie of greedy Dons.

There's a mother lode of revenge to get straight - not only the sorrow of Hopkins' Zorro Senior, but Banderas' Zorro Junior is intent on catching up with evil henchman Colonel Love (Matthew Letscher) for lopping off his brother's head. There's also a dastardly Rafael plot to buy California from the Mexican overlords with their own gold which needs to be scuppered - the drama crescendos to an Indiana Jones styled gold mine peopled with reams of innocent children. Plus a daughter to reclaim and a purring beauty to be won over be it by delectable tango, illicit confession or smouldering glance.

Essentially, though, Zorro concerns itself with fabulous sword-fighting (and slashing big "Zs" in the woodwork), rip-roarious stunts (including a spectacularly OTT horse chase that errs more on the level of horseplay) and a sparkling interplay between the leads (who all seem to be having a whale of a time). Banderas and Hopkins gel nonchalantly, igniting humour and passion off the master-pupil rote; Hopkins with Zeta-Jones adds a poignant note to the boysiness of it all; but it is the Banderas/Zeta-Jones inveiglement that really sizzles - in the film's raunchiest sequence they mock-duel with flirtatious glee, stealing kisses and removing clothing with well-placed swishes of the rapier. And with the sun glistening over tumbleweed deserts and appropriately-bedecked cantinas and ranchos, director Campbell (who instilled such gusto into GoldenEye) invests it all with a fine sense of the theatrical and keen storytelling skill, sweeping events without fuss from one great set piece to the next.

Inevitably, none of this has any pretensions to profundity and its upfront style adds nothing to the textbook of filmmaking technique excepting perhaps the matchless stuntwork. Campbell also has a tough time cramming all the complicated ins and outs of the plot into a sensible running time - when the grandstand, all-action finale finally arrives it seems long overdue. The Mask Of Zorro, however, is attempting nothing greater than the purest escapism that will play right across the board, tongue tickling lightly in its cheek, eyes glinting with a jovial sparkle. Its sheer good nature is infectious.

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July 17, 1998 'The Mask of Zorro': The Cunning Fox Is Back Related Articles The New York Times on the Web: Current Film Forum Join a Discussion on Movies By JANET MASLIN he Mask of Zorro" extends a tempting invitation: travel back to the days when swashbuckling was serious business, when boyish adventure films still had their innocence, when the bravado of thrilling stunt work was all a movie needed in the way of special effects. With a wealth of charismatic Zorros (two), a smashing heroine and a dauntless love of adventure, this is hot-weather escapism so earnestly retrograde that it seems new. Directed by Martin Campbell, who gives it the same gaudy Bondian brio he brought to "Goldeneye," this Zorro features heroic derring-do from three men. First and most distinguished is Don Diego de la Vega, a k a Zorro Senior, played by a marvelously game Anthony Hopkins with unexpectedly elegant panache. Then there is his jokey, hot-blooded protege, the role that Antonio Banderas was obviously born to play. And behind the scenes there's Robert Anderson, sword master to the stars for 45 years (he worked with Errol Flynn), who has choreographed the film's many sword fights with spectacular flamboyance. If Anderson's style looks familiar, that may be because it was he who matched light-sabers with Luke Skywalker while dressed in a Darth Vader suit. There are "Star Wars" overtones to the story here, too, since "The Mask of Zorro" draws on the relationship between mentor and hero-in-training with the same debt to Joseph Campbell's mythic motifs. None too seriously, you understand -- just well enough to keep the film's castanets clicking. This format requires an early tragedy, and that happens when Zorro Senior loses his raven-haired wife and baby daughter to the evil Don Rafael Montero (Stuart Wilson), an early-19th-century Spanish governor of Alta California. There's something irresistibly quaint about the moment when Zorro and his wife, while sharing a tender moment at home, suddenly find themselves surrounded by a dozen sword-clanking soldiers who somehow crept noiselessly into the house. Though the dashing Don Diego has donned the Zorro mask to fight Spanish oppression (see assorted Zorro reruns on the late show for further details), circumstances now demand that he vanish for 20 years. He turns up again in the midst of a scraggly, unwashed crowd who can be described only as wretches in this context. Meanwhile, no less scraggly is a hapless thief named Alejandro Murieta (Banderas) who has his own grisly reasons for hating Don Rafael. It also happens that when Alejandro was a young boy, in the film's first big swashbuckling scene, he helped to save Don Diego's life. Later, when they meet as adults and Don Diego does him a good turn, Alejandro asks, "Why are you so eager to help me?" Don Diego replies, "Because, long ago, you did the same for me." (The dialogue all sounds like that.) From here, it's not long before these two begin their Zorro lessons. Clowning merrily without jeopardizing his smolder quotient, Banderas is shaped most endearingly into a protege worthy of mask, steed, mission and the works. Gracing "The Mask of Zorro" with a beauty inevitably described as "beyond compare" is the stunning Catherine Zeta-Jones. She plays Elena, Don Diego's long-lost and predictably raven-haired daughter, and she does it so showstoppingly that the film's appeal extends well beyond boyish action-adventure. Enchantingly paired with Banderas for a scorching tango, a hearty duel, a scene in a confessional that has him impersonating a priest and other such vintage-style encounters, Ms. Zeta-Jones makes her first major film role one to remember. It's worth noting that her bold, alluring Elena is one of numerous strong movie heroines (Jennifer Lopez in "Out of Sight," Cameron Diaz in "There's Something About Mary," Rene Russo in "Lethal Weapon 4," the animated Mulan) on screen this summer. Though its major sets and vistas have their blatant artificiality, there's nothing phony about the vigorous, sometimes jokey physical exertions on which "The Mask of Zorro" thrives. The wild bravado on horseback is on a par with dueling scenes. And as for the double who jumps spread-legged onto his saddle from a substantial height, well, he's a hero, too. The costume designer Graciela Mazon, who had been warming up Banderas for Zorro duty in "From Dusk Till Dawn" and "Desperado," lives up to the occasion with all the boots and corsets and flamenco chic that the material warrants. James Horner's atmospheric score frequently summons the memory of "Malaguena," giving the film all the beguiling hokum it needs. PRODUCTION NOTES THE MASK OF ZORRO Rating: "The Mask of Zorro" is rated PG-13. It includes occasional violence, notably gruesome in one instance, and mild sexual suggestiveness. Directed by Martin Campbell; written by John Eskow, Ted Elliott and Terry Rossio, based on a story by Elliott, Rossio and Randall Jahnson; director of photography, Phil Meheux; edited by Thom Noble; music by James Horner; production designer, Cecilia Montiel; costume designer, Graciela Mazon; produced by Doug Claybourne and David Foster; released by Tri-Star Pictures. Running time: 130 minutes. This film is rated PG-13. Cast: Antonio Banderas (Alejandro Murrieta/Zorro), Anthony Hopkins (Zorro/Don Diego de la Vega), Catherine Zeta-Jones (Elena), Stuart Wilson (Don Rafael Montero), Matt Letscher (Captain Harrison Love) and Maury Chaykin (Prison Warden).

"We waste our money so you don't have to."

"We waste our money, so you don't have to."

Movie Review

The mask of zorro.

US Release Date: 07-17-1998

Directed by: Martin Campbell

Starring ▸ ▾

• Antonio Banderas ,  as
• Alejandro Murrieta/Zorro
• Anthony Hopkins ,  as
• Don Diego de la Vega/Zorro
• Catherine Zeta-Jones ,  as
• Elena Montero
• Stuart Wilson ,  as
• Don Rafael Montero
• Matt Letscher ,  as
• Capt. Harrison Love
• Tony Amendola ,  as
• Pedro Armenderiz Jr. ,  as
• William Marquez as
• Fray Felipe

Catherine Zeta-Jones and Antonio Banderas in The Mask of Zorro .

Zorro has long been an entertaining character in movies and television series. The Mask of Zorro is the best of all that have come before it. The pace, action and humor have never been done better. Antonio Banderas makes a solid bid to be the best Zorro of all time.

As the movie opens, Zorro is portrayed by Anthony Hopkins. He does battle with a bad guy, Don Rafael. Zorro's secret identity is discovered and Don Rafael captures Zorro, kills his wife and kidnaps his baby girl. Years later, Zorro escapes from prison and seeks to revenge his wife's death. Now being an old man, Zorro recruits a thief and trains him to take over as the masked hero.

Antonio Banderas does a great job as the thief, Alejandro, who has his own vendetta going against someone who beheaded his brother. To make things convenient, his arch enemy joins forces with Don Rafael. To complicate things is the presence of the original Zorro's, now grown, daughter Elena. There is an immediate attraction between Elena and Alejandro. They have a sword fight that ends in Elena being stripped of most of her clothes. A hot-n-bothered, out of breath Elena later describes Zorro as "very vigorous!"

 The movie is full of action scenes. There are the many sword fight scenes as well as a great horse chasing one. My favorite is where Zorro attempts to steal a horse and ends up fighting an entire platoon of soldiers. The horse he ends up getting is beautiful but not very agreeable.

Antonio Banderas has worked in some 50 movies, some in English and some in Spanish. Of all of his English language films, The Mask of Zorro will be his most memorable and rightly so. His charming smile and cocky approach make for an extremely likable character that is more than just an action hero.

The idea of reviving Zorro began in 1992 with Steven Spielberg's Amblin Entertainment producing and Spielberg potentially directing. By the time the script was finished in 1993, Mikael Salomon was due to direct and Sean Connery cast as Diego de le Vega. Pre-production dragged on however, and by 1995, Salomon and Connery were out and Robert Rodriguez was hired to direct. He managed to sign Banderas, with whom he had previously worked on Desperado . However, by 1996, Rodriguez dropped out when he and Tristar, who were co-financing the film, couldn't agree on a budget. This brought Martin Campbell ( Goldeneye ) onboard as director, with cameras finally starting to roll five years after Spielberg initially hoped to start production. With all of these behind-the-scenes changes, it's impressive how entertaining the finished product turned out to be.

The biggest loss of all the cast and crew changes has to be the loss of Connery. There's no denying Hopkins' talent, but Connery's physicality would have added greatly to the part. Sure, he would have been playing a Spaniard with a Scottish accent, but Hopkins plays him with an English (tinged with Welsh) accent. This begs the question, how hard was it to figure out who Zorro was since both he and de le Vega appear to be the only people in the area with English accents? Which also leads to the further question, how hard was it to identify Elena as de le Vega's daughter, since she too speaks with an English (tinged with Welsh, since she and Hopkins are both Welsh) accent?

Although it's less than 20 years old at the time of this writing, the absence of CGI somehow makes it seem older. This works to the film's benefit because it means the action remains plausible, but still impressive and a lot of fun. Banderas, and presumably his team of stuntmen, swordfights and swashbuckles across the screen. His cocky grin provides plenty of charm and he seems to be having as much fun playing the part as we have watching him. Although the script provides him with revenge for the death of his brother as motivation, he and the movie are at their best in the lighter moments.

Banderas and Zeta-Jones have a great chemistry together. Their flirtatious swordfight is the film's most iconic moment. It's a sexy, fun, and playful scene and the sparks fly, with Elena nearly giving as good as she gets. As with the rest of the movie though, it's all kept very carefully rated PG. This family friendly atmosphere is another way that now seems old-fashioned. The art of making action films that can be enjoyed by all ages is becoming a lost art.

The film's only problem is its running time. At over 2 hours there is room for tightening. Too much time is spent on the backstory and character introductions than is really needed. As I said, it's the film's lighter moments that work best and a shorter pace would have emphasized that tone.

Despite being an international success, it would take 7 years for a sequel to be made. The failure of that follow-up to match the original's success meant that the franchise died with just 2 films. Seeing that Zorro was in many ways, the original superhero and certainly Batman owes a nod to him, it's surprising that with the glut of superhero films someone hasn't tried to revive the character again. Although since any revival made today would certainly involve tons of CGI, perhaps it's for the best that it's been left alone. Zorro deserves to remain a human swashbuckler rather than a CGI generated one.

Photos © Copyright Amblin Entertainment (1998)

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Mask of Zorro, The (United States, 1998)

Zorro, the swashbuckling hero of the undertrodden, was introduced to the world in 1919 when he debuted in the pages of Johnston McCulley's serialized novel, The Curse of Capistrano . Within a year, the masked man had appeared in a film, the silent The Mark of Zorro . Over the next eight decades, Zorro would be played by the likes of Douglas Fairbanks Sr., Tyrone Power, Guy Williams, and now both Anthony Hopkins and Antonio Banderas. The Mask of Zorro , a '90s attempt to revive interest in the venerable hero, offers just what one might reasonably expect from a Zorro movie: a great deal of excitement and adventure, all brought to the screen by using a somewhat irreverent tone that keeps the mood light without trivializing the characters.

The Mask of Zorro treats us to the sight of not one, but two, Zorros. When the film opens in 1821, the mask is worn by Don Diego De La Vega (Anthony Hopkins). He is the original Zorro, the mysterious avenger who defends Mexico against its foes, including his arch-enemy, Don Rafael Montero (Stuart Wilson), the cruel governor of the region. But, on the night of Zorro's final public appearance, Montero learns his identity and takes a squadron of guards to De La Vega's abode. There, in a tragic accident, De La Vega's beloved wife is killed. Montero then imprisons his enemy and takes De La Vega's infant daughter as his own.

Twenty years later, that daughter, Elena (Catherine Zeta Jones), has grown into a beautiful woman. With her by his side, Montero triumphantly returns from exile with plans to turn California into an independent republic. Montero's reappearance awakens a long-dormant passion in De La Vega, who has spent two decades in dungeons, and he escapes. Soon after, he encounters a thief on the run from the law, Alejandro Murrieta (Antonio Banderas), who, as a child, once did Zorro a favor. After a brief period of deliberation, De La Vega decides that fate has brought them together ("When the pupil is ready, the teacher will find him"), and he agrees to take the man on as his protégé and groom him as the new Zorro. For his part, Murrieta is willing to endure De La Vega's tough training regimen, because he wants revenge on his brother's killer, Captain Harrison Love (Matt Letscher), who happens to be Montero's right-hand man.

Most recent superhero movies have been dark, bleak, and heavily reliant upon special effects. The Mask of Zorro is none of these. In many ways, it's a throwback to simpler times, before every new movie of this sort had to mimic Batman . There's something in the tone and style that recalls Raiders of the Lost Ark , and, while The Mask of Zorro isn't on the same level, it's not an altogether ridiculous comparison. Even though Zorro doesn't feature the non-stop cliffhanger adventure of Raiders , there's still plenty of action, tumult, and derring-do. And, like Raiders , this film never takes itself too seriously. The subject matter -- avenging the deaths of loved ones -- offers the potential for a grim motion picture, but that's not the path chosen by director Martin Campbell ( Goldeneye ) or the screenwriters.

If there's a problem with the movie, it's that the material is a little too familiar. That's obviously intentional, since fans of the genre have a series of expectations that have to be met: good must triumph over evil, the villains must be punished, the hero must get the girl, and there must be a happy ending. As far as the formula goes, The Mask of Zorro does a more-than-suitable job. Admittedly, part of the fun is that the film doesn't offer much in the way of substance, nor does it ever pretend that it's going to.

One source of pleasure associated with this movie is having the opportunity to watch a great actor like Anthony Hopkins let down his hair (literally) and take up where Errol Flynn left off. He is, as always, excellent, and he makes De La Vega more of a character than a mere screen presence. Antonio Banderas, who is undoubtedly the main reason many women will see this film, infuses his version of Zorro with charm and charisma. His playfully erotic scenes with the stunningly beautiful Catherine Zeta-Jones ( The Phantom ) are electric. Zeta-Jones, assuring that her first appearance in a major Hollywood feature won't be forgotten, can boast the movie's most memorable costume (or lack thereof), when a sword duel with Zorro leaves Elena's garments in shreds.

Like all great heroes, Zorro is bigger than life, and we wouldn't have it any other way. Of the so-called action blockbusters to arrive on the scene during the summer of 1998, this is arguably the most sedate, and one of the best. There are no asteroids, giant lizards, or armored men with flame throwers. In fact, with the exception of one very big, very impressive explosion, The Mask of Zorro is almost devoid of pyrotechnics and special effects. The real question is whether the name and concept of "Zorro" will be able to attract the kind of box office necessary for the movie to be seen as a success. Will audiences shun the film because they deem Zorro to be quaint? Those who fall into this category cheat no one but themselves. If the film makers can produce another one like this, here's hoping that Zorro rides again.

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