The The Masked Avengers Full Movie Download In Italian
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Zorro (.mw-parser-output .IPA-label-smallfont-size:85%.mw-parser-output .references .IPA-label-small,.mw-parser-output .infobox .IPA-label-small,.mw-parser-output .navbox .IPA-label-smallfont-size:100%Spanish pronunciation: [ˈsoro] or Spanish pronunciation: [ˈθoro], (both with a rolling 'r') Spanish for 'fox') is a fictional character created in 1919 by American pulp writer Johnston McCulley, appearing in works set in the Pueblo of Los Angeles in Alta California.[1] He is typically portrayed as a dashing masked vigilante who defends the commoners and indigenous peoples of California against corrupt and tyrannical officials and other villains. His signature all-black costume includes a cape, a hat known as a sombrero cordobés, and a mask covering the upper half of his face.
Zorro is the secret identity of Don Diego de la Vega (originally Don Diego Vega), a young man who is the only son of Don Alejandro de la Vega, the richest landowner in California, while Diego's mother is dead. In most versions, Diego learned his swordsmanship while at university in Spain, and created his masked alter ego after he was unexpectedly summoned home by his father because California had fallen into the hands of an oppressive dictator. Diego is usually shown living with his father in a huge hacienda, which contains a number of secret passages and tunnels, leading to a secret cave that serves as headquarters for Zorro's operations and as Tornado's hiding place. In order to divert suspicion about his identity, Diego hides his fighting abilities while also pretending to be a coward and a fop.
Being one of the earliest examples of a fictional masked avenger with a double identity, Zorro inspired the creation of several similar characters in pulp magazines and other media, and is a precursor of the superheroes of American comic books, with Batman and the Lone Ranger drawing particularly close parallels to the character.
McCulley's concept of a band of men helping Zorro is often absent from other versions of the character. An exception is Zorro's Fighting Legion (1939), starring Reed Hadley as Diego. In Douglas Fairbanks' version, he also has a band of masked men helping him. In McCulley's stories, Zorro was aided by a deaf-mute named Bernardo. In Disney's Zorro television series, Bernardo is not deaf but pretends to be, and serves as Zorro's secret agent. He is a capable and invaluable helper for Zorro, sometimes wearing the mask to reinforce his master's charade. The Family Channel's Zorro television series replaces Bernardo with a teenager named Felipe, played by Juan Diego Botto, with a similar disability and pretense. In Isabel Allende's Zorro: A Novel, Bernardo is the child of the de la Vega's Native housemaid, Ana, who forms a bond with Regina de la Vega, a former Native warrior who is converted, christianized and married to Don Alejandro. Their dual pregnancies result in them giving birth the same night. Due to complications from birth, Regina cannot breastfeed her child, Diego, so Ana breastfeeds both boys, making them milk brothers. The two are shown to be inseparable, which helps Bernardo receive more formal education, and accompanies Diego to Barcelona. After a group of pirates invade the de la Vega home, Bernardo witnesses the rape and murder of his mother and a result stops speaking. Diego's grandmother White Owl concludes Bernardo refuses to speak as a form of mourning. He is shown to speak to Tornado in a spirit quest and later to a fellow native girl, Light-in-the-Night, whom he marries.
The 1860s, 1880s, and 1900s penny dreadful treatment of the Spring-heeled Jack character as a masked avenger may have inspired some aspects of Zorro's heroic persona.[6][7] Spring Heeled Jack was portrayed as a nobleman who created a flamboyant, masked alter ego to fight injustice, frequently demonstrated exceptional athletic and combative skills, maintained a hidden lair and was known to carve the letter "S" into walls with his rapier as a calling card.
Like Sir Percy in The Scarlet Pimpernel, Don Diego avoids suspicion by playing the role of an effete dandy who wears lace, writes poetry, and shuns violence. The all-black Fairbanks film costume, which with variations has remained the standard costume for the character, was likely adapted from the Arrow serial film character The Masked Rider (1919). This character was the first Mexican black-clad masked rider on a black horse to appear on the silver screen. Fairbanks's costume in The Mark of Zorro, released the following year, resembled that of the Rider with only slight differences in the mask and hat.[8]
The Republic Pictures serials Don Daredevil Rides Again (1951) and Man with the Steel Whip (1954) features masked heroes similar to Zorro: Don Daredevil and El Latigo. Republic had previously released five Zorro serials between 1937 and 1949, but had since lost the licence for the character and could not use him anymore. The serial makes frequent use of stock footage from all five Zorro serials, with scenes originally showing Zorro now being interpreted as showing Don Daredevil and El Latigo: the result of this is that the costume and body shape of Don Daredevil and El Latigo keeps changing between scenes, even becoming female in scenes taken from Zorro's Black Whip (1944).[32][33]
As was mention in the comments the first adventures of Duck Avenger were made as a parody of the black thief Diabolik who was very popular in Italy during the 60s 70s, even today. Furthermore Duck Avenger also takes reference to some famous dark characters mainly those coming from French literature (Rocambolè, Arsène Lupin, Fantomas), but also from oversea figure as the masked avenger Zorro. For instance also Fantomas was also very popular in Europe in that period because of some famous French movies played by Louis De Funés. Carpi had said about this character:" In the begining he was an interesting double identity case, he was the expression of Donald's frustations which were relieved through this new identity..." Mostly of the Italian Readers who read these adventures during their yought still like better the original Paperinik mainly because he was not a super hero, he did not have any kind of super power or super training, he was just a masked avenger for himself. Furthermore he was created as a parody to famous literary classics thus with much more "human being behaviour" and cultural background reference than the oversea exagerate super heroes also on fashion in the same period. Also for these reason the fans of the original Duck Avenger (The translation as Phantom Duck could have been better...but at least he has not called Super Duck!)don't like his further evolution who changed him in a "prosy hero" Batman style. I also would like to point out that in Italy there are not difference between the Disney "Universe" published on the "normal size" comic book and the pocket comics. During the 50s 60s 70s...basically all the Disney story in Italy were published in the pocket format comic book TOPOLINO also the Carl Barks and Gottfredson adventures and of course the ones created by the Italian Disney authors like Martina, Carpi, Scarpa, Cavazzano ec... So for the Italian readers all these stories belong to the same "universe" it is not a matter of the size of the book on which they are printed. The Donald and Scrooge by Martina are sometime different in behaviour respect to the Barks ones...but not always, Mickey from Scarpa is very similar to the one of Gottfredson...but not always. The difference are often simply different aspect and shades of their temper.
If someone want to know much more details about Duck Avenger and to better undertand why he is so loved in Italy but also in mostly of the European country (France, Germany, Spain...) and Brasil were the Disney comics are still very popular, look at this site (Mostly of the pages are also translated in a "not perfect" english).
In 1985, a group of New York-based women artists banded together to protest the rampant discrimination in a male curated, male-centric Museum of Modern Art (MoMA) show (where out of the 169 artists represented, only 13 were female). Out of that spirit, the highly vocal, social-crime-fighting, vigilante, primate-masked, anonymous, but ever watchful (and score-keeping) feminist collective the Guerrilla Girls was born.
In the French version, he was called Fantomiald, in the German version Phantomias, Patomás in the Spanish translations, and the Greek version Phantom Duck (Φάντομ Ντακ), all of them based on the master-criminal Fantômas. In Denmark his adventures have mostly been published in small books called "Jumbobøger", or "Jumbo books" (Due to being several hundred pages long, not for their size). He is known in Denmark as "Stålanden", meaning "The Steel-duck" and in Sweden as "Stål-Kalle", meaning "Steel-Donald". These names are understood to be based on Stålmanden/Stålmannen, local translations of Superman's title, the Man of Steel. In Finland, Papernik is published in "Aku Ankan Taskukirja", "Donald Duck's Pocket Book". The Finnish name for Papernik is "Taikaviitta", meaning "Magic Cape". In Norway he is called "Fantonald", contracting word for phantom (Norw. spelling: "fantom") with the name Donald. This alludes to another (non-Disney) comic-book hero, Lee Falk's "The Phantom", or in Norwegian Fantomet. Duck Avenger resembles The Phantom in that he is a masked hero with no actual superpowers.
The early Duck Avenger due to his "modus operandi" and the mistery element of his stories, can be considered a mix of various "dark" characters mainly those coming from French literature (Rocambolè, Arsène Lupin, Fantomas), but also from oversea figures as the masked avenger Zorro, or the "superhero" Batman.
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