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sherrygin-81719
Reviews
The Bold Caballero (1936)
A truly original and entertaining approach to a classic
General:
The plot is original and probably as concise as possible, spanning from Isabella's father's untimely demise to two highly contrasted on-the-spot weddings at the end. The twists are lighthearted and not too predictable and essentially well enough executed by the main cast. Only the Indian population could have done with a kinder, more considerate and less histrionic scriptwriting for their involvement in the plot. But then again, it was probably the time. Whether we like it or not, old things tend to resemble old circumstances. Apart from that the film creates a pleasant atmosphere without considerable lengths.
Acting:
* Heather Angel plays a fulminant part as a self-confident and yet down-to-earth heiress to an unlikely position, showing a combination of mildness and business-mindedness unusual for women (and even most men) depicted at the given time or in the filmic context.
Of all the pretty girls at Zorro's side she probably stands out as the most independent, witty and effective female stakeholder, not the least because the plan to capture Zorro in the run-up to the film's climax is entirely of her own making.
* Robert Livingston positively falls out of his usual B-Western demeanor, showing that he is more than capable of a certain degree of genuine suaveness, even though he never consciously falls below a certain positively childlike playfulness. Though altogether very delightful, it does not ultimately ring true as a faithful Zorro-impersonation; this could be considered an early parallel to Roger Moore's cast as James Bond after he had ceased to be the "saintly" Simon Templar, about which a considerable amount of people thought that Moore (particularly in contrast to Connery) was just too impish to follow in the footprints of portrayals that mixed their character's suaveness with more earnestness instead.
* Interestingly enough though, Livingston's Zorro arguably has the closest and most respectful relationship with Ian Wolfe's priest character, who is in turn not only comparatively solemn and calm compared to the more Brother Tuck-like characters of other film versions, but also in the remarkable position of lacking a name.
Summary:
Altogether an hour well spent. Probably the closest the saga of Zorro has ever come to a screwball comedy, but - curiously - not at all to the films disadvantage. Yet, to contrast the sometimes almost to silly dialogue, I personally recommend watching the black-and-white version for a matching atmosphere.