The Mark of Zorro

A superb swashbuckler, less athletic than the silent Fairbanks version but making up for it on the romantic side, and cleverly choreographing its action scenes until they whisk along like a ballet. Above all it looks terrific, with Mamoulian indulging his passion for shadows, while Arthur Miller's camerawork makes striking use of the contrasting white Spanish architecture and black of Zorro's cape and costume. Rathbone, rarely without a rapier in his hand and forever ferociously limbering up ('He's always stabbing at something' someone wearily complains) until he is summarily skewered in the magnificent final duel, is outstanding as Zorro's malevolent adversary.