. . . can only be defeated by really fast young skinny guys with great comic timing and super-human gymnastic skills. Of course, future film legend Douglas Fairbanks turns in his best performance in THE MARK OF ZORRO, since he WAS still relatively young, unknown, and poor in 1920. But as in ANIMAL FARM (or as with today's "upcoming" political "leaders," or as with many of today's Powerball and Mega-Millions big winners, or as in the plot of THE MARK OF ZORRO itself) both those born into wealth and those who have riches thrust upon them (or serve as Big Money's Henchpeople) soon grow into the very sort of piggish Enemies of the People whom they themselves had despised when poor. Only the threat of losing their wealth can sometimes temporarily bring these folks back on the side of angels, as happens here with Zorro (and, in an ancillary sense, with his main squeeze, Lolita Pulido). By the end of the 1920s, Hollywood's Fat Cats--including the aging Fairbanks himself--had banded together to form the elitist guilds, free-thought censorship codes, and pattern of persecuting the young & poor & creative classes (in other words, everything Zorro fought AGAINST!).