Don Q Son of Zorro
Tags: good versus evil, romantic, action, flashback

Plot synopsis:
Don Diego de la Vega (Zorro)'s son, Cesar (Douglas Fairbanks), is in Spain finishing his education. While Cesar is showing off to friends his remarkable prowess with the whip, he accidentally clips off the feather shako on the hat of Don Sebastian (Donald Crisp) of the Palace Guard. Although Cesar apologizes immediately, Sebastian is unforgiving. Their duel is interrupted by a runaway bull. Trapped on the ground with his sword belt tangled in his boot, certain to be gored by the bull, Sebastian is saved at the last minute by Cesar. This further infuriates him. The action is observed by Queen Isabella (Stella De Lanti) and her guest, Austrian Archduke Paul (Warner Oland); she requests Cesar's company immediately. Another friend of Cesar, Don Fabrique Borusta (Jean Hersholt), offers to bring him to Her Majesty.
Meanwhile, Cesar encounters Dolores (Mary Astor), daughter of his father's old friend, General de Muro (Jack McDonald), as she poses for a sculptor. It is love at first sight. But Sebastian, who comes from a poor family, has set his sights on Dolores and her family's wealth, and is determined to win her. Later, the Archduke invites Cesar to paint the town, with Sebastian as their "duenna." In a local tavern the Archduke offends the patrons, all seeming ruffians, by flirting with the dancer. Sebastian contrives his and the Duke's escape, but locks Cesar in the tavern to defend himself against the cutthroats. In the carriage that takes them away from what he is sure will be Cesar's death, Sebastian declares he has a meeting with Dolores. The Archduke invites himself along. While Sebastian asks the General for his daughter's hand, the Archduke sees Dolores serenaded by Cesar, who escaped (easily) and even acquired a guitar as a souvenir. Seeing the reactions of the young couple, the Archduke knows Cesar has won Dolores's heart.
Although penniless, Don Fabrique has designs on succeeding in society. He glues together a discarded invitation to the Archduke’s Grand Ball, and crashes the party. At the ball, Cesar and Sebastian sit on either side of Dolores, both seeming frustrated in their efforts to woo her. The Archduke summons her to him. When Cesar sees the Archduke caress Dolores's cheek, Cesar becomes jealous and goes to confront him. But the Archduke assures him that he is working in Cesar's favor, and proves it by dragging Sebastian to another room to play cards while Cesar and Dolores dance together. Cesar pulls Dolores to a balcony for ardent lovemaking. Fabrique sees them; when the pair are interrupted by Dolores’s father, General de Muro, who recognizes Cesar and is ready to give his blessing, Fabrique believes they are about to be betrothed.
In the card room, the Archduke declares that Sebastian is as unlucky at cards as he is in love. Franque tiptoes in, and tells the Archduke that he saw Cesar and Dolores kissing: surely they will be married now. The Archduke summons Cesar to congratulate him, to the horror of Sebastian. When he enters, Cesar is offended at the impropriety of this news, and learns that the source was Fabrique. Such bad manners should not go unpunished. He informs the Archduke that someone here doesn't belong, and asks if he should remove him. Archduke Paul nods, and Cesar pulls Fabrique out of the room by tugging his nose.
The Archduke continues to taunt Sebastian, a foolish move when Sebastian, enraged by jealousy, pulls his sword and stabs the Archduke before he realizes what he has done. He hides when Cesar, hearing something, enters, then strikes Cesar unconscious. He frames him for the Archduke's murder, then casually leaves. With his last dying energy, the Archduke pulls a playing card off the table and writes on it: Sebastian assassinated me. Archduke Paul.
Fabrique enters, finds Cesar unconscious, finds the playing card and, miffed at Cesar's insult, takes it. Shortly thereafter he confronts Sebastian with his demands: to be appointed Civil Governor. Both stand by while the Guard arrests Cesar for the murder and orders his immediate execution to prevent an international incident. But General de Muro offers Cesar a gentleman’s way out by giving him a dagger. Cesar pretends to stab himself and falls to the moat below the castle.
Months pass, while Cesar hides in the ruins of the old family castle. He pretends to be Don Q, for "a trick must be answered by a trick!" Fabrique has become Civil Governor, receiving regular pay-offs from Sebastian. Fabrique has even taken over Carlo's servants, and maidservant Lola (Lottie Pickford), seeing how Sebastian behaves around Fabrique, runs to tell Cesar that although gossip says they are close friends, in truth Sebastian is afraid of Fabrique. This will prove the leverage Cesar needs to establish his innocence.
After months of mourning over Cesar, Dolores is pushed to marry Sebastian. Just as she is about to sign the marriage contract with Sebastian, Cesar appears at the window. He is alive! The Queen orders Cesar’s arrest. The best man to find him: that one-eyed ferret, Colonel Matsado (Albert MacQuarrie). But when Matsado stops at a country inn on his way into the city, Cesar waylays him, steals his uniform, and impersonates him. Back in the city Cesar as Matsado pretends to beat his (now Fabrique's) old manservant Robledo (Charles Stevens) for information on Cesar's whereabouts, then convinces Fabrique to accompany him to the ruins where Cesar has been living these past months. There he is determined to find what hold Fabrique has on Sebastian.
In a whirlwind finish, Sebastian and the real Matsado track Cesar to his lair, as do his father, Zorro (Fairbanks), who with the mute faithful family servant Bernardo (Tote Du Crow), has sailed from California to Spain to help. On the way to the ruins they pass Dolores and her mother along the same road. Finally, as all gather at the ruins, Zorro and Don Q battle the soldiers, Fabrique confesses, Sebastian is beaten, de Muro recognizes his old friend, the villains are arrested, and Cesar and Dolores reunited.

Review: A really GOOD sequel!.
Film sequels were a novelty in 1925, when DON Q, SON OF ZORRO marked a big profit for United Artists.
Then and now, it is considered to be a better film than the original, THE MARK OF ZORRO (1920), which made star and producer Douglas Fairbanks the personification of the Swashbuckler five years earlier.Since his screen debut in 1915, Fairbanks had always been cast in contemporary comedies as a fun-loving, never-say-die, go-getter who gets the girl and catches the bad guys  all the while exhibiting his athletic prowess and bravado.
He was a major film actor, but his popularity was beginning to wane due to the monotony of his roles and vehicles.
The formation of United Artists Corporation in 1919 gave founders Fairbanks, Mary Pickford, Charlie Chaplin and D.W. Griffith control over their own projects.
Fairbanks chose this opportunity to risk reinventing his image by starring in this film adaptation of The Curse of Capistrano.
The serialized novel written by Johnston McCulley had been published that year in a popular pulp magazine.
It introduced the character of Zorro to the world.
The magic of the movie assured Zorro's place among fictional super-heroes.
The character lived on in several more film versions as well as books, comics, cartoons, Halloween costumes, toys, and in the popular 1950's television series starring Guy Williams.In THE MARK OF ZORRO, set in early 19th century California, Fairbanks came up with an ingenious concept  showcasing his likable contemporary stock character into an action/adventure period costume picture.
He plays Don Diego Vega, the milksop son of an affluent rancher who, like the Scarlet Pimpernel, dons a disguise to defend the impoverished townsfolk from the tyrants in power.
His alter ego Zorro's, (Spanish for fox) trademarks are the black cape and cowl mask he wears and the master swordsmanship he displays.
He is known to brand his victims with a "Z" made with three fast strokes of his blade.
At the end of the film, after Zorro's greatest triumph, his identity is revealed.
He throws his sword into the air.
It lodges into a high spot on the wall, as Zorro shouts, "Till I need you again!" Though it was probably not Fairbanks' intention at the time, this line was a prime set-up for a sequel if there ever was one.
After the tremendous financial and critical success of ZORRO, Fairbanks continued to give the public what it wanted  the charismatic Fairbanks persona in lavish period epics.
THE THREE MUSKETEERS, ROBIN HOOD and THE THIEF OF BAGDAD were all released in the years between the two Zorro epics.As one can easily discern by the title of this follow-up, Doug is back as Diego's son - namely Don Cesar, aka "Don Q." The screenplay is based on the novel "Don Q's Love Story" by Hesketh Prichard and Kate Prichard which had no relationship to Zorro at all.
But by making Don Q the offspring of the famous hero, it cashed in on the audience's familiarity with the original and made it possible for Doug to play a dual role as both father and son.In the family tradition, Don Cesar is sent to Spain to continue his education and learn the traditions of his ancestors.
His high-spirited ways and showmanship with a bullwhip make him a favorite of the Queen's cousin, Archduke Paul of Austria (Warner Oland).
Cesar also makes an enemy of surly Don Sebastian (Donald Crisp), a member of the Queen's guard, and both men fall for the beautiful Dolores de Muro (Mary Astor).
After Cesar is framed for murder, he fakes suicide and goes underground until he can prove the guilt of the real killer.
Meanwhile, in California, Don Diego receives word of his son's predicament.
He retrieves his sword from where it had stuck thirty years before, digs out his mask and cape and travels to Spain to help rescue his son.
Father and son take on 15 soldiers in a sword fight during the film's exuberant finale.
Audiences and critics alike loved DON Q even more than the original.
Film-making technique and technology had improved rapidly since 1920.
The sequel had a stronger plot, higher production values and better pacing.
What's more, Fairbanks has fine-tuned his swashbuckler persona to perfection.
He was never was he more cocksure, flamboyant and amusing than he appears here.
Though already 41 years old, he easily got away with playing a much younger character in no small part due to his physical fitness.
He is shown to great advantage, engaging in sword-play, jumping on a horse or  his specialty in this film - cracking a whip.
Well known for performing his own stunts, Doug reportedly spent six weeks learning fancy whipmanship.
He uses it to light a cigarette, extinguish a candle, slice paper, lasso a bull and swing onto a balcony.
He also shows himself to be a dandy on the dance floor in a parody of a Valentino tango.Donald Crisp, best known for his chilling performance as Lillian Gish's cruel father in BROKEN BLOSSOMS, does double duty in DON Q as both co-star and director.
He plays Fairbanks' dastardly nemesis Don Sebastian while directing one of his best films.
Crisp directed more than 70 films, including the Buster Keaton classic,THE NAVIGATOR.
He got his start in the movies in 1908 with the Biograph Company and appeared on screen for the last time 55 years later as Grandpa Spencer in the 1963 film SPENCER'S MOUNTAIN that starred Henry Fonda.
Crisp died in 1974.
The New York Times thought so highly of DON Q, SON OF ZORRO, that they named it one the 10 best films of 1925.While enjoyable on TV or home video, the movie is twice the fun when watched with live accompaniment and an audience as I was fortunate to experience at Cinevent 2006..
Son lives up to his father's pedigree.
Sprightly, only slightly less appealing sequel to Fairbank's first outing as Zorro.
Here as Zorro's son, we also get some neat whiptricks and the sight of 2 Fairbanks (as Zorro and his son) in addition to the usual acrobatic stunts.
The plot concerns Don Q being sent to the "old country" to study.
He ends up framed for a crime by the corrupt officials of the Queen (who are made jealous when Don Q saves their commander from a bull with his whip, impressing the Queen with his courage).
Zorro must come over to help him prove his innocence and defeat his enemies in battle..
The Son Also Rises.
Dashing Douglas Fairbanks (as Don Cesar de Vega) is the son of the legendary "Zorro", in this spectacular sequel to Mr. Fairbanks' own "The Mark of Zorro" (1920) *********.
The younger Fairbanks has been sent to Spain, where he cracks his whip, and soaks up local color.
There, he falls in love with pretty Mary Astor (as Dolores de Muro); watch out for the great introduction to Ms. Astor's character, as Fairbanks places wings on her silhouette.
You know trouble is brewing when dastardly rival Donald Crisp (as Don Sebastian) is spurned by "belle of the Archduke's ball" Astor.
In a fit of anger, Mr. Crisp assassinates Archduke Paul (as Warner Oland), and frames Fairbanks for the killing.
Then, Fairbanks fakes his own suicide, and sets out to prove his innocence; eventually, he receives help from father "Zorro" (Fairbanks, in a dual role)."Don Q, Son of Zorro" is a tremendous sequel, from Fairbanks and company, who wisely viewed follow-ups as a chance to equal, or improve upon, earlier hits.
Not surprisingly, it lacks the spontaneity of the earlier film, and it is, perhaps, a little too long.
However, the overall production is superior, and the storyline refreshingly unique; as "Don Q", and his story, are quite different than the original "Zorro".
Crisp is very helpful, as both villain and director.
And, Henry Sharp's photography is top notch.The cast is terrific: alongside the aforementioned, you have Fairbanks regular Charles Stevens (as Robledo) in one of his more showy roles, otherwise humanitarian Jean Hersholt (as Don Fabrique) playing Crisp's blackmailing nemesis, famous sibling Lottie Pickford (as Lola), and Albert MacQuarrie (as Colonel Matsado) gets to ask Fairbanks: "Who the hell are you?".
Fairbanks Forever!.
Like his father a generation before, a young Californian caballero must fight against treachery & evil in high places.DON Q SON OF ZORRO was Douglas Fairbanks' rousing sequel to his previous hit film, THE MARK OF ZORRO (1920).
Much more expansive & elaborate than the first film, Fairbanks shows what he's learned about producing silent swashbucklers in the intervening five years.
Mixing history, spectacle & lots of action, Doug always gave his audience their money's worth.By this point in his career, Fairbanks was the absolute master of the swashbuckler.
Whether romancing a fair señorita, fighting off hordes of enemy swordsmen, or jumping all about the architecture, his infectious grin & superb athletic prowess never fail to charm the viewer.
And here he gets to charm twice, playing both father & son very nicely.Doug is given wonderful support from three excellent character actors: Warner Oland as a silly Austrian Archduke whose foolish behavior precipitates the movie's crisis; Jean Hersholt as a social climbing buffoon who gets more than he bargained for; and vile Donald Crisp (who also directed) as the villain who wants both Fairbanks' life & sweetheart.Although given little to do, Mary Astor is still a lovely heroine worth the fighting of several duels.But this remains Fairbanks' film.
His powerful personality & spectacular stunts not only dominate the movie, but also have ensured him an unassailable niche in Hollywood history..
The Fairbanks action-adventure formula at its most streamlined.
After his artsy fantasy "The Thief of Baghdad" freaked everyone out, Doug got back to basics with this sequel to his first swashbuckler, "The Mark of Zorro" -- and concocted a meticulously designed, take-no-chances star vehicle.
The sets, cast, and screenplay are all impressive but, as always, it's the Fairbanks persona -- an odd combination of pragmatist and dreamer, magician and acrobat, lover and fighter, rogue and moralist -- and his endless bag of tricks, gags, and stunts that sets the film apart from, not only 1920s action spectacles, but those of his successors: Jackie Chan, James Bond, and Indiana Jones.Of his later pictures, perhaps only "The Gaucho" tops this one for sheer excellence in filmmaking..
A great sequel to a great original.
The Mark of Zorro to me is one of the Douglas Fairbanks classics, and its sequel Don Q Son of Zorro is just as great and even on par with it.
It looks spectacular with sets that look lavish and expensive and photography that positively sweeps.
The music score rouses the spirits well enough and there is a sense of humour that has a strong presence and in a way that is still fresh.
The story is well-paced and compelling with thrills, fun and adventure galore.
It's conventional for a film starring Fairbanks and as an adventure film as well in a sense but not to a routine or simplistic degree, it is always easy to follow and still offers enough surprises.
The action is full of energy and rousingly choreographed, never too much or too little and they move the story forward rather than slowing down.
If you are looking for stunts that will leave you in awe, as you often find in Fairbanks's films, you will not be disappointed in Don Q Son of Zorro, they're unmistakably Fairbanks but don't feel rehashed.
Donald Crisp directs with a deft and imaginative touch, and the characterisations are vivid enough, with the exception of Mary Astor who doesn't have a lot to do and comes across as bland as a result(shame as she has done a fair amount of stuff that I like).
Crisp is especially good in support, he has rarely been more malevolent though not in a blatant way, and Don Sebastian is easily one of the nastiest villains of any Fairbanks film.
Warner Oland is solid too if occasionally resorting to histrionics.
Douglas Fairbanks is the most impressive though, the athletic stunts look so effortless when he does them and the gallant charisma and infectious smile makes him a most likable hero.
To conclude, Mark of Zorro is still a classic and one of Fairbanks' greatest but Don Q Son of Zorro is just as great.
9/10 Bethany Cox. Was this the first sequel?.
As an early Zorro movie, well, an early movie period, this was fairly good.
I will admit that some of it was kind of dumb.
The plot is that Zorro's son has been framed for a murder.
This happens because someone forges the murder victim's signature saying he was the killer.
How could anyone be fooled into thinking someone wrote down who their murderer was?
Was this a thing back in the 1920's?
The Zorro costume does in fact appear, but unfortunately it's only in the last ten minutes.
With all that being said, this still is by no means a bad movie.
The original Zorro movie was better.While this was before color, I really was impressed by the tints of this movie.
I guess they don't count as colors, but this really was a nice looking movie.
The atmosphere is probably the strongest point, because this is a movie that's very nice to look at with great sets.
It's so nice to see how well they hold up after nearly a hundred years!
I like the idea of Zorro having a son, but this was interesting because he wasn't just taking on the persona of Zorro.
He really was becoming a new character in his own right.
Sequels shouldn't just repeat what the original did.
It's great to point out the flaws in such an old movie.
While not a classic, it's fine.
The Man with the Whip.
A sequel to one of Doug's best pictures that rousingly maintains the high standard of the original with much of the action played for laughs as Fairbanks effortlessly sees off the opposition while nonchalantly cracking a whip (even snapping a cigarette from Donald Crisp's mouth at one point!), mounting horses and performing other exhilarating feats of derring do.
Amidst all the macho brawling Lottie Pickford and Stella DeLanti (as the Queen) both make lively impressions in relatively brief roles; the latter early on, the former towards the end..
A case where the sequel is about as good as the original..
Due to the success of "The Mark of Zorro", Douglas Fairbanks returned to the screen for this sequel—a film about the brave son of Zorro.
Instead of taking place in California, however, the narration explains that all first-born sons in the Vega family travel to Spain for an education.
So, we see the whip-wielding Don Q making friends and having a heck of a good time in the mother country.
After meeting the Archduke of the Austria-Hungarian Empire (I guess he, too, was there for an education or to meet some senoritas), the two become fast friends.
However, when Don Q begins to woo a lady (Mary Astor), the evil Don Sebastian (Donald Crisp) concocts a plan.
He kills the poor Archduke and frames Don Q!
So, during much of the film, the son of Zorro is a wanted man.
Only after some cool action and help from his Daddy (how did he get from California to Spain---I mean, it's literally half a world away!)—and you then get to see two Douglas Fairbanks in a rousing finale.While this is a derivative film, it is fun.
Plus, how can the film help but be wonderful—it IS a Fairbanks film during his heyday in Hollywood.
Excellent action, acting and script combine to make this one as good as the original Fairbanks film.By the way, look at the runaway bull scene where Don Q supposedly stops a bull from the bullring on a wild stampede through the streets.
It's clearly NOT one of the Spanish cows bred for the ring but some old dairy cow!
I can see why they didn't want Fairbanks to risk his life in such a scene, but they used a dairy cow—and that gave me a bit of a laugh..
Zorro has a sequel!.
SYNOPSIS: A young Californian blade at loose in Madrid is accused of murder by his rival for the hand of a pretty girl.NOTES: A sequel to The Mark of Zorro (1920).COMMENT: Unlike most sequels, this one is actually much more entertaining than the original Zorro, thanks not only to the large amount of money lavished on this production, but for the more engaging performances all around.
True, the costumes, sets and hordes of colorful extras certainly engage the viewer's attention, but not more so than our dashing hero himself, so personably portrayed with such consummate high spirits and athletic prowess by the charismatic Fairbanks who, in addition to his mastery of swordplay and balcony leaping demonstrates a new skill to enthrall all his fans here, namely a dazzling display with a stock whip.
In my youth, we often wondered whether actor Donald Crisp was a good director.
Here's the answer: He's not just good, he's brilliant-and not just in handling his players, all of whom (including Crisp himself) contribute eye-catching characterizations.
In fact, Crisp's entrancing visual style is one of the picture's mainstays.
He gets the pictorial best from every shot.
AVAILABLE on DVD through Delta.
Quality rating: 10 out of ten.