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On Sunday, July 15th the San Francisco Silent Film Festival will screen The Mark of Zorro (1920), starring Douglas Fairbanks, Sr.

As Zorro, a masked champion of the people, Fairbanks displays the athletic prowess, humor, and rakish charm that would propel him to super-stardom. The film is a classic, and in it Fairbanks set the bar high for subsequent action-adventure films in what was his first-ever swashbuckler.

Set to introduce The Mark of Zorro is Jeffrey Vance, Fairbanks scholar and author of Douglas Fairbanks, which was published by the University of California Press. Vance is a film historian, archivist, producer, lecturer and the author of a trilogy of earlier books, each highly regarded, on film greats Charlie Chaplin, Buster Keaton, and Harold Lloyd. Vance will be signing copies of his books following the Sunday screening The Mark of Zorro.

Recently, I spoke with Vance about Fairbanks, silent film, his work as a film historian, and what he is looking forward to seeing at this year’s Festival.

Jeffrey Vance

Jeffrey Vance in Hollywood

 

Thomas Gladysz: How did you become interested in Douglas Fairbanks?

Jeffrey Vance: I became interested in Fairbanks as a result of my early interest in Charles Chaplin. Fairbanks was Chaplin’s great friend, and a partner in the United Artists Corporation. He was also a Hollywood superstar along with Chaplin and Mary Pickford. I wrote Mary Pickford a fan letter at the end of her life. She responded with an encouraging letter. Fairbanks’s namesake son also provided encouragement later on.

Thomas Gladysz: Fairbanks was more than a popular actor—he was an innovator and pioneer.

Jeffrey Vance: Yes. Douglas Fairbanks was one of the most creative producers in America and one of Hollywood’s great leaders. He came to films as a Broadway star, transitioned to films first as a screen satirist and then, of course, as the great screen swashbuckler. Beyond that, he was a civic leader, an independent producer, the first president of the Academy of Motion Picture Arts and Sciences, and a developer of America’s first film school, now called the USC School of Cinematic Arts. Fairbanks helped pioneer and popularize Technicolor cinematography and original film scores. And, his film collection was one of the first important film deposits at the Museum of Modern Art; Fairbanks was also a pioneer of film preservation. In short, Fairbanks was at the forefront of many important things.

Thomas Gladysz: At this year’s SFSFF, you’re introducing The Mark of Zorro. What should viewers expect?

Jeffrey Vance: The Mark of Zorro is a landmark not only in Fairbanks’ career but also in the development of the action adventure film. With The Mark of Zorro, Fairbanks was transitioning from comedies to the costume films for which he is best remembered. Instead of reflecting the times, The Mark of Zorro offers an infusion of the romantic past with a contemporary flair. Prior to Fairbanks, most costume films had been largely turgid affairs; Fairbanks’ contribution to the costume film was his winning charm, humor, and athleticism executed in a modern manner.

Beyond re-energizing his career and redefining a genre, The Mark of Zorro also helped popularize one of the enduring creations of twentieth century American fiction, a character that was the prototype for comic book heroes such as Batman. Bob Kane told me that Fairbanks’ Zorro costume, secret lair, and dual identity inspired Batman. And, of course, footage from the original The Mark of Zorro is cleverly interwoven into the Oscar-winning film, The Artist.

Douglas Fairbanks, by Jeffrey Vance

Douglas Fairbanks, by Jeffrey Vance

Thomas Gladysz: Speaking of The Artist, Fairbanks’ persona obviously influenced the film’s lead character, George Valentin. What did you think of the film?

Jeffrey Vance: I think The Artist is a miracle. The fact is it raised a “dead” art form—the silent cinema—like Lazarus. It’s no longer perceived as irrelevant; someone else could conceivably make another silent film and it too could garner critical and commercial success.

Thanks to the Weinstein Company, I was able to attend several screenings and events promoting the film. It was gratifying to hear writer/director Michel Hazanavicius tell me that the creative team behind The Artist had my Douglas Fairbanks book, and that it was the book and all the screenings and events around the book that helped shape the character of George Valentin, played by Jean Dujardin. They could have easily modeled the character on John Gilbert or Rudolph Valentino.

Thomas Gladysz: What draws you to silent film?

Jeffrey Vance: For me, a great draw is that the viewer is part of the creative process. The viewer is interpreting the images on the screen. Silent cinema is like opera and ballet; what’s not provided the viewer provides with their imagination. As a result, one is more involved with silent cinema than with other types of films. They mean more to the viewer.

Thomas Gladysz: As a film historian and author, what’s next?

Jeffrey Vance: I’ve done quite a few audio commentary tracks. Recently released, The Gold Rush for Criterion Collection is my best commentary work and my favorite. I’ve also recorded tracks for Fairbanks’s The Thief of Bagdad for the Cohen Collection, as well as the 1944 British comedy On Approval for Inception Media Group. I’m recording another for Warner Home Video at the end of the month.

I’ve also done quite a bit of work in the past year for Roy Export, the Chaplin family organization that controls the copyrighted Chaplin films as well as the Chaplin image. A Chaplin film deposit now joins the Chaplin photographic collection at the Academy of Motion Picture Arts and Sciences. I helped negotiate and arrange that collection. These two important collections will be celebrated by the Academy in the near future. Recently, I took the NBC Today Show on a Chaplin tour, it will air sometime after the Olympics.

I am also working on a book project about Mary Pickford. The late Robert Cushman, a leading Pickford expert and photo curator at the Academy of Motion Picture Arts and Sciences, wrote several chapters for a critical study of Pickford. Robert also conducted interviews with cinematographers Hal Mohr, director George Cukor, and others in the early 1970s. Manoah Bowman, the executor of Robert’s estate, has allowed me exclusive use of these materials to develop into a complete book. I intend to augment Robert’s materials with my own interview materials and research. I believe it will be an important Pickford book.

The Mark of Zorro

The Mark of Zorro (1920), stars the masked Douglas Fairbanks (left)

 

Thomas Gladysz: Besides The Mark of Zorro, which films at this year’s festival most intrigue you?

Jeffrey Vance: For me, there are three must-see films. Mantrap is a comedy gem. With a capacity Castro crowd, Mantrap may very well bring the house down. It’s Clara Bow’s best film. I find we’re still catching up with Clara Bow! She was very much of her time yet ahead of her time. Another is Pandora’s Box. Silent films are all about picture quality. In an inferior print, you’re taking away vital information. Louise Brooks really comes alive in the new restoration. To see additional detail in her performance is to see the film for the first time. And Louise Brooks in Pandora’s Box is a performance for the ages!

Finally, I’m keen to revisit The Wonderful Lies of Nina Petrovna. The film co-stars Francis Lederer, and I remember being seated next to him when the film was shown in his honor at Cinecon in Hollywood in the 1990s. It was an amazing film, and Mr. Lederer was flabbergasted at this silent picture he made early in his long career. At the film’s conclusion, he kept repeating, “I can’t believe how good this picture is. That man Schwarz [Hanns Schwarz, the film’s director] was a genius!”

These films are just shells of themselves on home video or screened in museums/archives. They were designed and timed for the big screen, large audiences, and live music. Anything else isn’t the authentic silent film experience. I’m very grateful to the San Francisco Silent Film Festival for the opportunities they provide to revisit and rediscover the very fragile art form that is the silent cinema.

*****

Further information about the San Francisco Silent Film Festival can be found on their website at www.silentfilm.org. The Festival takes place at the Castro Theater July 12 – 15th.

Thomas Gladysz is a Bay Area arts journalist and early film buff, and the Director of the Louise Brooks Society, an internet-based archive and international fan club devoted to the silent film star. Gladysz has contributed to books on the actress, organized exhibits, appeared on television and radio, and introduced Brooks’ films around the world. He will be signing copies of his “Louise Brooks edition” of Margarete Bohme’s classic novel, The Diary of a Lost Girl, following the screening of Pandora’s Box at this year’s San Francisco Silent Film Festival.

Museum Holiday Hours

The Douglas Fairbanks Museum will be closed from Nov. 21-27 for the Thanksgiving holiday.

We will close on Dec. 19, 2011 for the Christmas and New Year’s holidays, and reopen to the public on Jan. 2, 2012.

Thanks for all your support this year and happy holidays!

 

Douglas Fairbanks Sr.'s personal copy of "The Mark of Zorro," to be auctioned in New York next week.

 

DOUGLAS FAIRBANKS JR. ESTATE AUCTION SEPT. 13th

Doyle New York will hold a major auction of items from the estate of the late Douglas Fairbanks, Jr. on September 13th at 10 a.m. Eastern time.

In addition to rare personal items of Doug Jr.’s, the auction catalog also contains several pieces that once belonged to his father, Douglas Fairbanks, Sr.

One interesting example is Doug Sr.’s own personal copy of the novel that inspired one of his most famous films: The Mark of Zorro (1920). This leather-bound volume was personally inscribed to Fairbanks by the author Johnston McCulley in 1925, at around the same time Fairbanks was producing the sequel Don Q. – Son of Zorro.

Doug Sr.'s copy of "The Mark of Zorro," with a heartfelt tribute by the author.

 

The book remained at Pickfair after Douglas Fairbanks and Mary Pickford divorced in 1936. Fairbanks Sr. died on December 12, 1939. Many years later in 1951, Mary Pickford gave Doug Sr.’s copy of this book to his son, Douglas Fairbanks, Jr.,  as a Christmas present. Her Christmas card and personal note to “Jayar” (Douglas Jr.’s nickname) are included as part of this auction lot.

Mary Pickford gave this book to Fairbanks Jr. at Christmas, 1951

 

This is just one of hundreds of must-see (and for many classic film collectors, must-HAVE) items from the Fairbanks Jr. estate that will be auctioned Sept. 13th. A pre-auction exhibit runs Sept. 9-12 for viewing and inspection of all items. Admission is free and open to the public.

For more information, visit the Estate of Douglas Fairbanks Jr. auction page at Doyle New York.

MUSEUM RE-OPENS IN SPITE OF HARDSHIPS

By Dr. Laura Murray, museum volunteer

Despite of the national economic recession, a mold infestation in the museum’s former building, and a burglary that resulted in the loss of hundreds of rare artifacts last year, the Douglas Fairbanks Museum is finally back open again.

On what would have been the 128th birthday of the great silent film star, the museum held a Grand Reopening celebration and once again welcomed visitors into the museum’s new home.

“This is such a happy day,” museum curator Keri Leigh told the assembled group of volunteers, supporters and guests. “We’ve had more than our share of challenges over the past few years, and sometimes we wondered if this moment would ever come. Thanks to your support and the hard work of our dedicated volunteers, we are open to the public again.”

Overcome by emotion, at one point Leigh broke down in tears while describing the holiday 2010 burglary that resulted in the loss of hundreds of rare photographs, three-dimensional artifacts, and a sizable portion of the museum’s film and periodicals collections.

“Several of these items were more than 100 years old; many were one of a kind and simply cannot be replaced,” she said. “We’re trying our best to re-build the archives, but it will take many years to ever get back to where we were before the burglary.

“Funding needed to acquire new artifacts just isn’t there.” Leigh explained. “Since the economic downturn of 2008, the gifts and endowments that used to sustain us have dropped dramatically. This is true for museums and libraries everywhere, but it hit us especially hard in light of all these tragedies. Insurance only covers the fair market value, not the historic value of collectibles such as these. In many respects, we will never be made whole again because there’s just no way to replace many of the items that were stolen. They were the only ones known to exist in the world.”

Although the museum offered a cash reward and a 90-day amnesty period for return of the stolen artifacts, no one ever came forward. To date, these hundreds of rare photographs, periodicals, films, and three-dimensional items have not been located. The thieves remain at large. Private investigators are working pro bono hoping to crack the case.

“I’m just grateful for what we still have.” She said. “By the grace of God, we are here today to share what’s left of our collection with you all. We’ve been here since 1998 and we have always triumphed over tragedy. We’re not going away as long as I still have breath in me. We’re not going to let a recession, mold, or thieves get the better of us. We believe that is in keeping with the message of Douglas Fairbanks; to never give up, to fight on in the face of adversity and injustice.”

Leigh’s remarks brought wild applause and a standing ovation from the assembled group. She pointed to a poster of Douglas Fairbanks in a typically bold swashbuckling pose, ready to take on the bad guys with his rapier: “See that fellow right there? He’s our inspiration. He’s the reason we carry on.”

Fairbanks in "The Black Pirate," 1926.

GUESTS TRAVELED MANY MILES

Visitors traveled from as far away as Dallas, Oklahoma, Colorado and California to attend the reopening. Leigh also read aloud cards, letters and emails of congratulations and well-wishes from museum supporters who could not attend in person. Among them was an email she recently received from one of Fairbanks’ great-great-grandsons in England, who just penned a school term paper about his great-grandfather.

“I’m just thrilled to see kids taking an interest in Douglas Fairbanks again,” Leigh said. “It made me beam with pride when I read young Fairbanks’ final report about his great-grandfather’s vast contributions to the Allied war effort in WWII. He should be proud of his family’s legacy.”

The Campisi family traveled from California to attend the reopening celebration. While browsing through a “look book”  documenting the stolen artifacts, Mr. Campisi tried to help his 7 year old son understand why the items were not available for him to see and touch. “This makes me so sad,” Mrs. Campisi said solemnly, “but it also makes me angry. What kind of people steal a child’s education? A thief’s greed denied my son and future generations the opportunity to learn about a great pioneer of the film industry.”

Mr. Campisi added, “if the thieves should ever meet up with the ghost of Douglas Fairbanks one dark night, they had better watch out! I’m pretty sure old Doug wouldn’t be very happy about what they’ve done. That’s all I can say.”

A rare 1920s photo of Fairbanks' "Rancho Zorro," stolen in the burglary.

ALL FOR ONE, ONE FOR ALL

Visitors enjoyed refreshments, guided tours of the museum’s new exhibit and library space, and a screening of Fairbanks’ 1921 classic, “The Three Musketeers.” As a show of solidarity at the end of the movie, guests, staff, and museum volunteers raised a toast and exclaimed a hearty, “All for one, and one for all!”

A homemade birthday cake was served and every museum visitor was presented with a gift bag containing a complimentary copy of the book Douglas Fairbanks: In His Own Words, a museum button, coffee mug, and a commemorative postcard to remember the occasion by. Kids got a D’Artagnan-style hat complete with feathered plume so that they could play the hero in a Three Musketeers game.

As the sun was setting and the last guest departed, the remaining staff and volunteers began cleaning up. Before locking up for the night, we took a moment to survey the new gallery space one more time. Someone said all the hard work to rebuild had been well worth it. We all just stopped in our tracks and nodded an “amen!” We saved the candles from Doug’s birthday cake and each volunteer took one as a special souvenir to remind us all of this very special day. We will never forget it.

BEFORE AND AFTER PHOTOS

Stage 1: Moving the boxes in

Stage 2: Cleanup and preparation

Stage 3: Planning and design of gallery spaces

Stage 4: Unpacking and setting up audio/visual systems

Stage 6: Starting to fill the bookshelves

Stage 7: Hanging the posters

Stage 8: Building exhibits

Stage 9: First exhibit ready to go!

MUSEUM RE-OPENING ON SCHEDULE

 

We are pleased to announce that the Douglas Fairbanks Museum will re-open to the public in May of 2011 as scheduled.

Our doors will open Monday, May 23rd, on what would have been Mr. Fairbanks’ 128th birthday.

The museum’s hours of operation are from 2-6 p.m, Monday through Friday. All tours are by appointment only.

Admission is $4 for adults, $2 for children, students with ID, and seniors.

Just a short drive from Austin, we are conveniently close to many Central Texas tourist attractions and are always happy to help you plan a special and event-filled vacation while you’re in the area.

We invite you to visit, learn more about Douglas Fairbanks and the silent film era, and take a tour of our beautiful new gallery space. We’re very proud indeed and eager to have you as our guest!

As the museum is located inside a historic private residence, advance registration and a prior confirmed appointment is required for all visitors.

If you would like to tour the museum, you may schedule an appointment via email or by phone at (830) 444-0523.

Also, please take the time to review our “VISIT” page to familiarize yourself with the museum’s policies and guest etiquette before you arrive.

Our heartfelt thanks to everyone who assisted with our relocation and volunteered their time/effort/sweat to help rebuild the gallery, library, and exhibit spaces. We simply could not have done it all without you!

 

 

 

Our sincere appreciation and thanks to the Cinefamily for featuring an entire month of Douglas Fairbanks’ classic films at the Silent Movie Theatre, a Los Angeles landmark.(611 N. Fairfax Ave.)

All throughout the month of February, Fairbanks films will be playing every Wednesday night in this vintage Art Deco  movie house. All screenings are open to the public. For more information on this special series, show times, and ticket prices, see below or visit Cinefamily’s website.

Douglas Fairbanks / Silent Wednesdays in February

 

In this age of constant celebrity culture bombardment, we forget that once upon a time, there were only a handful of superstars that could truly galvanize the entire world — and that list was headed by silent film legend Douglas Fairbanks. His universal appeal lied in his astounding ability to be almost all things to all people: a man’s man, a ladies’ man, a lithe acrobat, a charming rogue, a ceaseless adventurer and a jaunty comedian. Within just a few years of his movie debut in 1915, Fairbanks rocketed to becoming the highest-paid Hollywood actor next to Chaplin, and is still known today as one of the greatest swashbucklers and stunt masters ever filmed. Join us in some of Fairbanks’ most stirring leaps into fantasy, which, over the course of almost an entire century, haven’t lost a speck of their ability to whisk us away to far-off lands.

2/2 @ 8:00pm / Series: Douglas Fairbanks
His Majesty The American

Co-presented by The Silent Treatment

Silent superstar Douglas Fairbanks’ greatest asset was his boundless energy, his ability to bounce off the walls with an unlimited supply of daring-do — and the frothy 1919 romantic comedy/actioner His Majesty The American is one of the greatest showcases of this charismatic gift! Setting the stage for his slate of famous swashbuckling pictures to come in the ‘20s, His Majesty finds Fairbanks as an independently wealthy and bored young man in Manhattan; after putting in time as an amateur firefighter for kicks and heading off to Mexico to upstage Pancho Villa(!), he travels to a fictional European kingdom with an amazingly manic exuberance to single-handedly restore order to a riot-ridden landscape. The first feature produced under the United Artists banner (a company jointly formed by titans Fairbanks, Chaplin, Pickford and Griffith), His Majesty is one of the most rip-roaring romps ever created for our beloved “fire-eating, speed-loving, space- annihilating, excitement-hunting thrillhound!” Showing before the feature is Fairbanks’ notorious 1916 drug comedy/detective spoof The Mystery Of The Leaping Fish — and author/historian Jeffrey Vance will provide opening remarks on Fairbanks’ wild ‘n woolly career!
His Majesty The American Dir. Joseph Henabery, 1919, 16mm. (Archival 16mm print courtesy of The Douris Corporation)
Mystery of the Leaping Fish Dirs. Christy Cabanne & John Emerson, 1916, 35mm, 25 min. (Archival 35mm print courtesy of The Douris Corporation)

Tickets – $12/free for members

 

2/9 @ 8:00pm / Series: Douglas Fairbanks
The Three Musketeers

“When Alexandre Dumas…said to himself ‘Well, I guess I might as well write a book called The Three Musketeers, he doubtless had one object in view: to provide a suitable story for Douglas Fairbanks to act in the movies.” – LIFE Magazine

1920’s The Mark Of Zorro established Douglas Fairbanks as the biggest action star of his day, and truly set the tone for the rest of his career — but it was in The Three Musketeers that he pulled off, with consummate ease, possibly his most fantastic stuntwork. Even though he was 38 years old at the time, Douglas Fairbanks makes for all-time the role of D’Artagnan (the hot-headed young turk who joins the titular troika of rapier-wielding 17th-century soldiers), and employs a tongue-in-cheek style that has remained a constant in the swashbuckling genre, all the way up through today’s Pirates of the Carribbean. Watch for one of the most stunning stunts in early film, as Fairbanks does a one-handed handspring while reaching for a sword!
Dir. Fred Niblo, 1921, 16mm, 120 min.

Tickets – $10

 

2/16 @ 8:00pm / Series: Douglas Fairbanks
Robin Hood

After the successive successes of the spectacular The Mark of Zorro and The Three Musketeers, Fairbanks’ ambition became as bottomless as his physical prowess — and so naturally, the production of 1922’s Robin Hood was destined to become a staggeringly opulent action extravaganza! Rather than covering the usual time-honored origin story touchstones, Fairbanks’ version instead gives us an opening act where he plays the chivalrous Earl of Huntington, who is a participant in the sword-heavy Crusades. Only upon returning back to England does he find that Prince John has turned a once-idyllic empire into a Dante-esque sty of corruption. Executed on a herculean scale, the film’s sets were erected by an army of five hundred carpenters and towered ninety feet in the air, covering ten acres of land — historically accurate to the smallest detail. Add to that Fairbanks’ trademark gravity-defying stuntwork, and you’ve got one of the most joyous tellings of the beloved Robin Hood myth!
Dir. Allan Dwan, 1922, 35mm, 127 min.

Tickets – $10

 

2/19 @ 6:30pm / Series: Douglas Fairbanks
MEMBERS-ONLY SCREENING, SPECIAL SATURDAY SHOW:
The Thief of Bagdad
(“re-imagined” by Shadoe Stevens, w/ score feat. the music of ELO, world premiere!)

One of the most rousing, lavish and extraordinary film adventures of the 1920s comes to the Cinefamily in a version never before heard! Over the past 30 years, broadcasting legend Shadoe Stevens (the Federated Group’s “Fred Rated”; television shows like “Hollywood Squares and “Dave’s World”; the voice of “The Late Late Show With Craig Ferguson” and so much more) has been obsessed with Douglas Fairbanks’s masterful fantasy The Thief Of Bagdad — and throughout the years, has been privately perfecting the ultimate lush, dreamlike soundtrack to accompany this favored silent. Tonight, we proudly present the world premiere of Shadoe’s “re-imagined” Thief of Bagdad, scored entirely to the legendary music of the Electric Light Orchestra, which inexplicably complements and enhances the action! It’s an exceptional experience, as if the music was written for the movie.

This eye-popping odyssey features Fairbanks as a street thief who, in order to prove his worth to a princess paramour, transforms himself and is whisked away through a variety of storybook scenarios. Leapfrogging from undersea kingdoms to cloud cities and lunar outposts. With a winged horse, magic crystals and flying carpets, it’s a film of breathtaking innovation and magic. Gorgeous art deco larger-than-life setpieces, thousands of extras, the best SFX of its era and Fairbanks’s physical mastery all meld with the timeless music of Jeff Lynne and the Electric Light Orchestra to produce a once-in-a-lifetime viewing experience!
Dir. Raoul Walsh, 1924, digital presentation, 140 min.

Tickets – free for members (first-come, first serve)

NOTE: you must have a current Cinefamily 3-month, 6-month or yearly membership to gain admission to this show — and we’ll have staff on-hand at the box office for you to re-up your lapsed membership, or sign up for a new one (hint-hint!)

 

2/23 @ 8:00pm / Series: Douglas Fairbanks
The Black Pirate

Photographed in early two-strip Technicolor, The Black Pirate is, by design, nothing but pure entertainment, as it’s crammed to the gills with swordfights, gallivanting about, pretty maidens, underwater chases and sweet revenge! Fairbanks had been itching to do a pirate picture for years, after being beaten to the punch by the big smashes of both The Sea Hawk and Captain Blood — and this film tops them both with its tale of a shipwrecked young man who finds that the pirate enemies who killed his father are also on the same island, burying the treasure which they stole from him. Going undercover, Doug infiltrates their ranks, in an attempt to explode them from within! With exteriors shot on location at sea, this is one of Fairbanks’ most satisfying efforts, blending whimsical comedy, startling nautical realism, romance and violence into a rollicking ball that will leave you grinnin’ from ear to ear, arrrrrgh!
Dir. Albert Parker, 1926, 35mm, 94 min.

Tickets – $10

 

Douglas Fairbanks in "The Mark of Zorro," coming to Austin's Long Center for the Performing Arts

ZORRO SLASHES INTO AUSTIN!

 

Rick Benjamin’s PARAGON ORCHESTRA

plays the original score to Douglas Fairbanks’

‘The Mark of Zorro’

January 30, 2011

4 PM

Long Center for the Performing Arts, Austin, TX

 

“Listening to a full band perform the complete scores, written and timed to the action, became a surprising delight…The audience chuckled along, as much to the music as the films.”

- The Washington Post

 

The MARK of ZORRO (1920) Together again at last – the swashbuckling silent classic with its original, Spanish-flavored score! Played by Rick Benjamin’s Paragon Orchestra.

Old Spanish California is the setting in which Douglas Fairbanks creates the prototype of the modern action-adventure hero, with surprising humor and athleticism, as “Senor Zorro.”

Slashing his trademark “Z” on the consciousness and sometimes the posteriors of the corrupt administration of Governor Alvarado, Zorro leads the way to “Justice for all!”

Rick Benjamin and his Paragon Orchestra reunite the zesty original score with the cinema classic as they have for 20 years with the films of Chaplin, Keaton and Harold Lloyd.

Return to Full Season Listing

 

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For more information, visit TheLongCenter.org

Fairbanks and Marguerite DeLaMotte in "The Mark of Zorro." Photo from the collections of the Douglas Fairbanks Museum.

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