Many adventures open with an intriguing beginning that hooks the audience.  Mask of Zorro is no deviant to this concept, as a swinging Zorro rescues a number of innocent farmers from execution.  The execution staged by Spanish Governor Don Rafael Montero (Stuart Wilson), who refuses to surrender his power in California despite having been ordered to return to Spain by the crumbling Spanish Empire.  Amidst this tense atmosphere between the people and the military forces of Don Montero, Zorro emerges like vapor out of nowhere.  It leads to a jaw dropping series of events where Zorro swings himself between buildings while fencing his way through the Spanish soldiers.  In a sense, Zorro’s presence feels much like a refined übermensch untouchable by humans.  Zorro’s mythical persona works like a two-edged sword, as it provides much action, but also makes intense action feel a little too fabricated, which diminishes the potential for honest suspense.

Soon after the first scene where Zorro frees the innocent farmers, the black mask comes off and Don Diego de la Vega (Anthony Hopkins) emerges.  Here the audience learns that Don de la Vega is a compassionate father of a newborn, Elena, whom he has achieved with his beautiful wife Esperanza (Julieta Rosen) whom he loves dearly.  Several additional story twists continue to mix the tale, which only enhances the film’s appeal and further intrigues such as jealousy, revenge, and greed.  In a quick succession, Don Montero finds out about Zorro’s identity, Esperanza dies, and Don Montero takes Elana away from Don de La Vega while also imprisoning him in some godforsaken prison.

Some twenty years later, Don de la Vega’s anger and rage has had time to simmer into a delicate and perfect plan, as he has learned about Don Montero and his daughter Elena’s (Catherine Zeta-Jones) return to California.  Opportunity for vengeance arises through a coincidence with the reemergence of a family heirloom worn by the thief Alejandro Murrieta (Antonio Banderas).  The heirloom functions like a favor to Don de la Vega who takes on Alejandro, as his protégé and pupil.  Alejandro’s spontaneous and rough personality needs much polishing before Don de la Vega has once again regenerated the mythical character Zorro to carry out his merciless plan.  However, one question lingers within the mind of Don de la Vega—why has Don Montero returned to California?

The Mask of Zorro opens with the audience suspended into their seats much like being halfway up the initial hill of a rollercoaster.  It means that the film delivers a quick and highly anticipated suspense, however, as the film goes on the suspense ultimately flattens out.  Yet, there are moments within the film, which present a number of surprising elements that will keep the audience tied to their seats.  Sorry to say, the film’s suspense does not continue through the final climax, as the previous events in the film have numbed the audience’s anticipation.  Here the Campbell attempts to salvage the viewer’s attention with extravagant fireworks and special effects.  Fortunately, The Mask of Zorro feels much like the swashbuckling Sunday matinee’s from 1940s with Errol Flynn such as Captain Blood (1935) and Seahawk (1940).  The difference between the older films and this film is the stimuli overflow that shines through in the Mask of Zorro.  Yet, it delivers an honest adventure where good fights evil in an attempt to make the world a better place, which ultimately leaves the viewer with an entertaining and righteous adventure.

DIRECTED BY

COUNTRY

USA / Mexico

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