Well received in it's time and holds up well today. Plot and dialog are notable, and the Heather Angel character is powerful decades before feminism. Skip Banderas. Watch this one.
10 Reviews
Better than Banderas
pendoc5 May 1999
nice relic, enjoyable
chipe21 August 1999
Enjoyable. Creaks, shows it age. Primitive in many ways, but nice bantering and humor between Livingston, the girl and the evil commandant. Sometimes I found the dialogue and acting stilted and silly, other times quite amusing................This film should interest Zorro fans for comparisons with other versions of the story -- here the girl plays a major role (her father is killed early in the story, and she inherits his position as governor of the province), Zorro's father/family are not even mentioned, and it is the Indians who are oppressed (in other versions I think it was the Hispanic peasants and others being oppressed).
Zorro sings!
JohnHowardReid11 November 2017
Warning: Spoilers
Robert Livingston (Don Diego), Heather Angel (Lady Isabella Palma), Sig Rumann (commandante), Ian Wolfe (priest), Robert Warwick (Governor Palma), Emily Fitzroy (duenna), Charles Stevens (Vargas), Ferdinand Munier (innkeeper), Walter Long (Chato), Chris-Pin Martin (tax collector), Soledad Jiminez (peasant woman), Carlos De Valdez (mayor), Chief Thundercloud (Zorro's aide), Artie Ortego, Gurdial Singh, Louise Carter, Iron Eyes Cody, Chris Willow Bird, Chief John Big Tree (Indians), Andres Blando, Juan Medina (bullfighters), Yakima Canutt (soldier/peon), Joe Dominguez (guard), William Emile (dueler), Al Haskell, I. Stanford Jolley, Jack Kirk, Henry Morris, Pascale Perry, George Plues, Vinegar Roan, Charles Slim Whitaker (soldiers), John Merton, Jack Roberts (sergeants), Nellie Walker (stunt double for Heather Angel), Joe Yrigoyen (stunt double).
Director: WELLS ROOT. Screenplay: Wells Root. Based on an idea and characters created by Johnston McCulley. Photography in Magnacolor by Alvin Wyckoff and Jack Marta. Supervising film editor: Murray Seldeen. Film editor: Lester Orlebeck. Costumes designed by Eloise. Music supervisor: Harry Grey. Music settings: Carl Hajos. Sound recording engineer: Harry Jones. Associate producer: Albert E. Levoy. Producer: Nat Levine.
Copyright 4 January 1937 by Republic Pictures Corp. No recorded New York opening. U.S. release: 3 February 1937. 8 reels. 69 minutes.
U.K. release title: The Bold Cavalier.
Australian release title: Zorro: The Bold Caballero.
SYNOPSIS: Spanish Californian peasants find a champion in Diego, a fop by day, Zorro by night.
COMMENT: Republic's first color film is by no means simply a curiosity. Nor is it merely an entertaining precursor of "The Mark of Zorro" (1940). It still comes across in this year of grace as an enjoyable romp in its own right. True, you can hardly compare Robert Livingston with Tyrone Power, Heather Angel with Linda Darnell, Sig Rumann with J. Edward Bromberg, Chris-Pin Martin with Basil Rathbone, Gale Sondergaard with Emily Fitzroy, and Ian Wolfe with Eugene Palette.
Nonetheless, within the limits of a lesser budget and less expansive script, Livingston and company do the familiar story proud. Yak Canutt doubtless doubled the masked Zorro, as well as handling the frolicsome 2nd unit action. William Emile likewise served a double duty as fencing coach and technical adviser.
Certainly, in less than 70 minutes, the movie packs in enough dueling and hair's-breadth escapes for the fans, plus a bit of comedy and maybe just a mite too much of romance. Plus all that, this version has the advantage of a couple of songs from Zorro!
Director: WELLS ROOT. Screenplay: Wells Root. Based on an idea and characters created by Johnston McCulley. Photography in Magnacolor by Alvin Wyckoff and Jack Marta. Supervising film editor: Murray Seldeen. Film editor: Lester Orlebeck. Costumes designed by Eloise. Music supervisor: Harry Grey. Music settings: Carl Hajos. Sound recording engineer: Harry Jones. Associate producer: Albert E. Levoy. Producer: Nat Levine.
Copyright 4 January 1937 by Republic Pictures Corp. No recorded New York opening. U.S. release: 3 February 1937. 8 reels. 69 minutes.
U.K. release title: The Bold Cavalier.
Australian release title: Zorro: The Bold Caballero.
SYNOPSIS: Spanish Californian peasants find a champion in Diego, a fop by day, Zorro by night.
COMMENT: Republic's first color film is by no means simply a curiosity. Nor is it merely an entertaining precursor of "The Mark of Zorro" (1940). It still comes across in this year of grace as an enjoyable romp in its own right. True, you can hardly compare Robert Livingston with Tyrone Power, Heather Angel with Linda Darnell, Sig Rumann with J. Edward Bromberg, Chris-Pin Martin with Basil Rathbone, Gale Sondergaard with Emily Fitzroy, and Ian Wolfe with Eugene Palette.
Nonetheless, within the limits of a lesser budget and less expansive script, Livingston and company do the familiar story proud. Yak Canutt doubtless doubled the masked Zorro, as well as handling the frolicsome 2nd unit action. William Emile likewise served a double duty as fencing coach and technical adviser.
Certainly, in less than 70 minutes, the movie packs in enough dueling and hair's-breadth escapes for the fans, plus a bit of comedy and maybe just a mite too much of romance. Plus all that, this version has the advantage of a couple of songs from Zorro!
Surprisingly good.
planktonrules31 July 2011
Warning: Spoilers
Considering that this film was from Republic Pictures and it stars Robert Livingston (an actor that made tons of B-westerns, such as the Mesquiteer and Lone Rider films), I honestly didn't expect much. While it wasn't quite as good as the Zorro films starring Douglas Fairbanks or Tyrone Power, it was very, very good...surprisingly good in fact. You can tell Republic invested heavily in this film. Unlike the tons of cheap Bs they made during this era, "The Bold Caballero" was shot in Technicolor. This is even more surprising when you consider that very, very films were being shot in color at this time--even by the major studios (and Republic was never a major studio).
Lingston plays Don Diego and his alter-ego, Zorro. When the film begins, a new governor and his daughter arrive in California. As the Commandante is very corrupt and will no doubt be arrested for his thievery, he arranges for it to look as if Zorro has killed the Governor--and his daughter's all-consuming goal is capturing and hanging Zorro.
The film is essentially a film encapsulating the entire story of Zorro--with no apparent attempt to turn this into a series--which is surprising considering Republic made a ton of series films and serials. Because of this, by the end of the film the saga appears rather complete--Don Diego has revealed who he is and he's gotten the girl, freedom for the peons and a pardon.
The film has pretty good acting, nice action and a nice polish--which all work together to make a dandy little adventure film. I was taken by surprise at the quality and watchability of "The Bold Caballero" and am surprised to see that it has fallen into the public domain.
Lingston plays Don Diego and his alter-ego, Zorro. When the film begins, a new governor and his daughter arrive in California. As the Commandante is very corrupt and will no doubt be arrested for his thievery, he arranges for it to look as if Zorro has killed the Governor--and his daughter's all-consuming goal is capturing and hanging Zorro.
The film is essentially a film encapsulating the entire story of Zorro--with no apparent attempt to turn this into a series--which is surprising considering Republic made a ton of series films and serials. Because of this, by the end of the film the saga appears rather complete--Don Diego has revealed who he is and he's gotten the girl, freedom for the peons and a pardon.
The film has pretty good acting, nice action and a nice polish--which all work together to make a dandy little adventure film. I was taken by surprise at the quality and watchability of "The Bold Caballero" and am surprised to see that it has fallen into the public domain.
A truly original and entertaining approach to a classic
sherrygin-8171913 September 2019
Warning: Spoilers
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.
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.
A lesser outing for the masked Zorro
dbborroughs10 July 2009
Warning: Spoilers
Robert Livingston stars in what is probably the first color Zorro film and a film that predates the release of the classic Tyrone Powers film. The film begins with Zorro captured but still masked being lead into the village square when word reached the evil commandante of the garrison that Spain has sent a new governor. In the confusion Zorro escapes and the military is once more on the prowl for the masked avenger. One of the lesser Zorro films, its clear this was made to show off the Magnacolor process and be a spectacle of some sort (There are a couple of songs, but no big numbers). There's lost of romance and flashy costumes but the action adventure seems to be skimped on. Its good but not great and certainly not what one thinks of as a Zorro film , especially from Republic Studios who turned out over half a dozen Zorro and Zorro related serials. Worth a look as a rental and if you run across it on cable, but unless you need to see every Zorro movie ever made you don't need to go out of your way to see it.
A Good B Version, And Heather Angel
boblipton22 April 2024
The military commandante of Santa Cruz, Sig Ruman, kills the new governor and frames Zorro. The dying governor gives the place to his daughter, Heather Angel, and tells her to seek vengeance on his murderer. This leaves Zorro/Don Diego Vega in a pickle, as he loves Miss Angel. So he offers to help Ruman woo Miss Angel, while fopping it up for her.
Republic Pictures' first color production (Magnacolor, an offshoot of Prizma) is a pretty good effort, with Yakima Canutt and Joe Yrigoyen among the stunt doubles. Bob Livingston as Zorro is pretty good in the conedy parts, and a full-face mask allows his doubles to do the stunts convincing; when Livingston has to handle a sword, the cameramen are obviously covering for him.
It's all good fun, and if it doesn't average as good as Fairbanks or Power, it's good, clean fun.
Republic Pictures' first color production (Magnacolor, an offshoot of Prizma) is a pretty good effort, with Yakima Canutt and Joe Yrigoyen among the stunt doubles. Bob Livingston as Zorro is pretty good in the conedy parts, and a full-face mask allows his doubles to do the stunts convincing; when Livingston has to handle a sword, the cameramen are obviously covering for him.
It's all good fun, and if it doesn't average as good as Fairbanks or Power, it's good, clean fun.
Run of the mill
Leofwine_draca23 December 2019
Warning: Spoilers
THE BOLD CABALLERO is a routine Zorro programmer, shot by Republic in 1936. It stars a long-forgotten cast in another familiar story about an evil and corrupt governer who finds his mettle tested when Zorro rises up to challenge his supremacy. Expect sword fights, limited action, near-death escapes and romance with the ladies. It has a certain verve at time and the garish colour is quite something, but otherwise this is run of the mill.
EARLY COLOR "ZORRO"...LIVELY "REPUBLIC" FILM...ENTERTAINING
LeonLouisRicci2 September 2021
Quite the Curiosity of this Mid-Thirties "Zorro" Movie, the 1st with Sound and the 1st in Color. That's Right COLOR in 1936 from B-Studio "Republic".
The Two Leads are Attractive with Bob Livingston and Heather Angel and Sig Ruman the Oafish Comedy-Relief.
There is some Surprising Violence with Whips and the Bloody "Z".
Yakama Cannut get some Ink doing the Stunt Work and the Action Scenes that are Minimal but Busy and Exciting.
The "Peons" Moan and Cry Alot and take some Brutal Beatings and Whippings. The Movie Surely has a Dark Side.
Overall, Despite some Heavy-Handed Melodramatics and Maybe a Tune Too Many, the Film is a Watchable and Enjoyable Artifact.
Note...Zorro's mask is full-hooded like the original Pulp Character. But one can see why this was abandoned quickly in other versions as a partially seen Zorro face does bring the Character out of the shadows.
The Two Leads are Attractive with Bob Livingston and Heather Angel and Sig Ruman the Oafish Comedy-Relief.
There is some Surprising Violence with Whips and the Bloody "Z".
Yakama Cannut get some Ink doing the Stunt Work and the Action Scenes that are Minimal but Busy and Exciting.
The "Peons" Moan and Cry Alot and take some Brutal Beatings and Whippings. The Movie Surely has a Dark Side.
Overall, Despite some Heavy-Handed Melodramatics and Maybe a Tune Too Many, the Film is a Watchable and Enjoyable Artifact.
Note...Zorro's mask is full-hooded like the original Pulp Character. But one can see why this was abandoned quickly in other versions as a partially seen Zorro face does bring the Character out of the shadows.
See also
Awards | FAQ | User Ratings | External Reviews | Metacritic Reviews
