Reviews

A welcome edition to any Disney fan's library. Zorro is a timeless classic and probably remembered more than any other version - including the recent remakes. This is timeless classic Disney adventure at its best! The colorized version is interesting but the black & white will always win out in my opinion. GO DISNEY! BRING THEM ALL OUT!

DVD arrived quickly in great condition. I love Zorro, especially the Disney version; this Zorro was one of my childhood heroes. I'm so glad it is at last available on DVD.

"Zorro" is one of rare TV series that serves adults and kids very well. Guy Williams is always remarkable, as the co-stars, in this incredible and eternal production. I wonder why the second season is not avaiable on DVD yet. The only thing that I didn't like about this realease, is the fact that Disney- it seems- does not have the proper respect regarding Zorro. There are no extras, no interviews of any kind, or production pictures. I recomend a very good book about it: "The Zorro Television Company", written by Gerry Dooley. Very interesting indeed.

I love the Zorro episodes! I wish both the colorized and BW versions were on the same DVDs. I think having a "How it was made" clip would have really been special too. Of course, we don't know what legal issues may have been occurring behind the scenes even to get these released on DVD. I'm satisfied that the video is stable and clear, unlike my old VHS tapes.

If you prefer to watch the series in the original form of black and white, I do not suggest these DVDs. I loved the series, but this colorized version is pretty poor quality. Not all parts of each frame were colorized, and fade-in/fade-out scenes are sometimes missed. As for the price, if you are not a member of the Disney Movie Club yet, you can get the entire 1st season(all 5 DVDs) for under $35, however, you'll be required to buy 4 more DVDs from the Club in the next 2 years at full price. Really not a bad deal, since the regular price of each DVD is now $22. Hopefully they'll release the next season within the next 2 years, and the obligation will be fulfilled by purchasing the next season of Zorro. Zorro Series - 5 Stars Colorized Quality - 3 Stars Fact that there is no choice between B&W and Color - 1 Star

Reviews

There is not a lot to say really. Just mention Walt Disney; Zorro and Guy Williams and that says it all. Go back to the good old days of TV and the laughs and actions of a timeless hero - at last brought back to life on DVD and in color. Though I have to admit I believe the series still looks better in its original black & white as it aired, a colorized version is good to have. As like many fans of this classic Disney series, volume 2 is A MUST HAVE!

I have ordered many things from Amazon. Purchasing this DVD was the fastest I had ever received anything. It was in perfect NEW condition and my children and I enjoy it very much!

While Antonio Banderas did a good job portraying Johnston McCulley's most famous character, "Zorro" in the 1998 release The Mask of Zorro, there is still only one "Zorro." The story has been done many times, by many actors, but none as well as the late Guy Williams. Walt Disney's Zorro - Season 1 - Volume 2 aired as a TV series from 1957 to 1959 and really launched the career of Guy Williams as a leading man and put "Zorro" on the map, as it were. Mr. Disney must have had a vision because he was right on the money. Williams (born Armando Catalano) understood and interpreted the dashing avenging hero of the people, set in old California during the Spanish rule. An accomplished fencer, Williams stepped right into a role that was tailor-made. Williams not only had the "look," but more importantly exuded the charm and panache of Don Diego de la Vega's alter ego. It's obvious that Williams was having fun. In typical Disney fashion, the series derived its comical relief from "Bernardo" played by Gene Sheldon, "Sgt. Garcia" played by Henry Calvin, and villany from "Capitan Monastario" portrayed by Britt Lomond. McCulley's story has it all - history, romance, horses, haciendas, and action-adventure. And Williams' portrayal was so vigorous, that boys across America were fencing in their backyards with plastic swords, running up street and down alley scratching "Z's" into every surface, and driving their mothers crazy. Zorro popped up as Ben Cooper Halloween costumes, on pajamas and lunch boxes. The marketing machine was in full swing with the Zorro fervor and demand. And Williams' Zorro still lives on in other parts of the world including Argentina where Williams retired. It's about time we see the real Zorro on DVD and even if we have to buy the entire series in installments, that's okay. We have at least moved past viewing the old videos.

Beginning with the very comical story of the "fair Trial" (featuring Sebastian Cabot as the overeating judge who beats Sgt.Garcia in an eating "contest"), this selection takes us to the end of Monastario's reign and sets up for a new storyline. In an already great series, this is an excellent sellection of episodes, better than the first DVD. Worth every penny, and lots of fun.

Reviews

The coverage of this book reminds me of my first four class introduction to (German) longsword combat at the Higgins Armory, condensed to book form for the Italian Style. I assume that is what Stephen Fick has done here, and based on his class work. I picked this book up for a less expensive look at some of the basics of the Italian style to complement the studies into the German style that I have participated in at Sword in the Scroll in Connecticut. I got a look at the Italian guards, cutting style, some drills and Italian theory. There is a good amount of discussion about the theory and underlying basics of longsword, such has time and foot work. This is a good and often forgotten part if introducing the sword. I don't agree with all of his assertions, for example where to look, but nothing came out as horribly bad. The book is not with out problems. The photos have been mentioned by another reviewer. They seem to be two students or assistant instructors grabbed before or after class for quick shots before a wall (NBA sweats, really?). The wall contrast is good, but the models do not look professional. More importantly, in my 2009 printing the photos of two different guards (posta di donna & posta falcone) are duplicated. Also the posta di donna sinestra photograph is described in the text as incorrect. A reshot even if slightly inconsistent photograph would be preferable. Finally, there is an entire chapter concerning gripping the blade. However the pictures of the demonstrators do not show the same hand grips as the close ups. The Appendixes, are also problematic. Appendix A Head & Face Protection. "You must wear full head and face protection during any sword drill involving another person." Really? Why do none of the pictures in the entire book have a demonstrator wearing face protection? Nor wearing gorgets nor gloves. Some sort of explanation would have been nice. Appendix B discusses types of practice weapons. It gives the majority of space to steel swords, but I think short shrifts wooden practice swords with only one paragraph. This is the least expensive option and the way most beginners start. A high quality pair starts at $120+ while quality steel swords are several hundred each. For the established practitioner the book is of interest for how another views the art. I would have liked to see more references to differentiate what comes from Fick's experence and what come form the manuals. However I understand that this is an basic beginners book and is beyond its scope. If you are a beginner, you best option, which the author also states, is to join an established group. If you cannot find one in your area, then at a $17 MSRP this is not a bad book to get a taste of longsword. You'll need at least one friend, and one of you should read through the entire book before you start. (At 144 pages with pictures it goes fast) While there is a logic to the layout, some important information about cutting does not come until late in the book. If you enjoy these basics then you can explore further some of the more in depth books that are available.

Poorly written, filed with photos of three guys who look like they just climbed out of bed. If your interested in the subject buy Christian Henry Toblers book "Fighting with the German Longsword".

The book is appropriately titled and therefore, for those indivduals who have no experience in the world of historical fencing and historical martial arts, and who do not wish to delve into the extreme subtleties of any form of historical fighting arts - a "reader's digest" of the art of longsword fencing, this book is for you. For novice practitioners, the book is useful as a review of the fundamentals, important if one intends to "test" at their particular training school or academy. For instructors of historical fencing, this book may offer some new ideas in the approach to instructing their students and therefore, a useful resource in that regard. The book does not focus on any one particular style of longsword fencing, but does cover the basics, with an excellent presentation on the longsword, its parts and its characteristics. Important information that all novices must internalize, regardless of fighting style studied. Steaphen then moves into combative foundations of posture and lines of attack. He also delves briefly into concepts of movement, measure, distance and tempo - concepts that both novice and experienced practitioners must know well. Steaphen also makes a point of ensuring the reader understands the importance of footwork, the very foundation of all fighting systems. This concept is explained with a series of intuitive images and illustrations aptly describing the basic of the foundations of footwork. After detailing the basics, he begins the various guard positions, interestingly sourcing the names and the positions from the Italian style documented by the Italian swordsmaster Fiore dei Liberi in 1410. The treatise used as the source was entitled "Fiore di Battaglia". These guards or "poste" are described with plenty of text accompanied with black & white photos which clearly depict the guards described. This section of the book continues with a presentation on a number of simple drills, each drill focused on some specific attribute, such as a drill designed to highlight distance or tempo or parrying. The book concludes with a good description of appropriate equipment to acquire should one decide to pursue longsword fencing, regardless of the style considered. Suggestions for hand protection include leather gauntlets or hockey gloves or lacrosse gloves, although, it is the opinion of the reviewer that hockey or lacrosses gloves are too bulky to train with, and may introduce training artifacts. The book closes with a basic glossary of terms, useful for the individual who may be considering beginning their journey into the study and training of historical fencing.

I've known Steaphen for 20 years now, he was the first person I ever fought live steel with. He's learned a lot since those days of armoured combat, and I am quite proud of what he has done with himself - a master swordsman and a teacher. . . I've had the pleasure of watching him teach, and he really has a way of making his students feel comfortable. . . This book is a great example of his teaching style. . . not so complex as to be hard to understand, while still giving the reader a solid basic instruction. If you've ever watched a Swords-and-Sorcery type movie and wondered "How'd they do that," Steaphen's book is a good place to start. My name is James Shaffer, and I approved this message.

I have known the author Steaphen Fick for nearly two decades as our common passion for historical reenactment caused our paths to cross back in 1991. In that time I have witnessed this sword masters journey through the many realms of European martial combat styles from the dainty small sword to full armored combat. I have been in a privileged position to watch his mastery of the many weapons and styles of the sword masters of old grow steadily over the years. Today his expertise in the use of weapons in both combat and tournament ranges many centuries from the early middle ages to the late renaissance and beyond. I have studied under several teachers and experienced armed combat in many reenactment and tournament circles over the years; I can say without a doubt that the teachings I received from Master Fick have served me better than all others combined. John Arnold Sword Scholar, historical enactor, and author

Reviews

Because I'm not a historian but rather someone with an interest for the sport of fencing, I can't speak for the accuracy of the details within the pages of the book. As the author has openly admitted here, there were corrections to be made and he has done them. I applaud his honesty in acknowledging those errors and making the corrections. That said, I personally have found myself completely engrossed and entertained by both the historic aspects and the non-handbook approach to the sport. While providing technical and historic details, it is done such in a way that the reader doesn't feel like he's in a lecture. I normally find 'history lessons' both dry and cumbersome but the tone of this book is wonderful done and richly expressed. It's apparent early on how much the author loves the sport and that passion is conveyed through his words. I don't recall when the last time I've been this excited reading a history book was. :) I am roughly three-quarters of the way through and have already recommended this to several of my friends who are likewise interested in the sport.

Richard Cohen attempted a major feat with this book and I believe that it was not up to the mark in all respects because of the breadth of subjects covered. An analogy would be writing a history of driving and having readers interested in one aspect complain that their pet subject was not covered enough. I fear that I am one of those readers. I bought the book with an interest in the combat use and development of the sword. While Cohen does write about that, it seemed that several thousands of years of western history were brushed over in a chapter with little coverage of the development and use of the sword. I also felt that he brushed over too quickly the early theorists and authors of sword fighting. The combat aspects werealso confined to mainly Western military history, while Napoleon must have seen something in the Mameluke sword as I believe that he carried one on many of his campaigns after Egypt. I did enjoy the chapter on the making of swords with its background on Toledo and Solingen. It was interesting to hear about the fate of these sword making centres and the impact that gunpowder had on them. In Solingen's case in Germany it was obviously on the losing side in the First World War and only salvaged by the Nazi desire for ceremonial daggers before another more fatal demise of its swordsmithing under the occupation of Germany by the allies after the Second World War. He has probably not won any favours from the tourist councils of either region for destroying the image that some sword fans may have of these once famous centres of sword making. In my view, Mr Cohen spends most of the book dealing with duels and individual fencing. For a book on such a broad subject it would have been a key question of balance on what to cover and what not to. In the interest of full disclosure I admit that I did not finish the book, as I was not really interested in the technicalities of duels nor in sport fencing, although I did read most of it. I personally would have found it interesting to see how the swords of different cultures fared when they met on the battlefield. I have read some stories of British officers foregoing firearms in India during battles to test their sword arms against native exponents. The author does have a good writing style and the book was easy to read. While I am no expert like the others who have criticised the author for historical inaccuracies I thought that I had come across a few. I did not take much note of them, as Richard Cohen was travelling down a long path and he could be forgiven for missing the occasional minor fact. If you are looking for a book that does focus on duelling and fencing then this is the book for you. If you are interested in the combat use of swords, especially in a non-western setting then this book will not satisfy you. I agree with the reviewer who said that there was not much from a non-western setting; samurais were essentially dealt with in a single chapter. Again, when contemplating purchasing this book think about a history of driving, it could not cover everything in depth and Richard Cohen's book is the same. I have given it three stars, mainly because I felt that it focused too heavily on duelling and fencing at the expense of combat and non-western swords. That may speak more about me than the book and I would add that I was torn between three and four stars.

I'm a non-European fencer, having studied Japanese Swordfighting instead. I picked this book up because it purported to have information on Japanese fighting, and I was interested in reading about it. So that was thrown out the window pretty quick, as this book is a definite European Fencing book. It has 2 chapters on japanese work, and it is very high level and not useful. But I read the book anyway, attempting to learn about European fencing. Overall, the author tries hard, but the book is unorganized and tries to use a shotgun, when a rifle would have been suited. It seems like the author was attempting to put a feather in his already immpressive career.

This is the coolest book I've ever read about anything so technical. It really is a technical book but it is absolutely absorbing. I could have read at least 5 more chapters. I started out by checking it out of my local library and after having it out forever I bought my own. It's full of tidbits about modern fencing and sword craftsmanship (I would love to go to Bavaria and be a sword maker now) to the craziest stories from history that are true! Once you start reading you can't stop!

A very good book. Excelent overview of history, a lot of information packed into a small book. A little dry at times, but not too often.

Reviews

Egerton Castle lays out a roadmap of European swords, schools and masters of the sword, and fencing texts from the middle ages to the early 1800s. Despite an original publication date of 1885, this is the best overview of the subjects covered. It is generally laid out in chronological order, with a few detours to follow specific schools of fencing, but flows well and logically. Castle describes the last days of armor and twohanded swords, and as gunpowder made medieval armor obsolete, he progresses through the development of the rapier and smallsword. I found the sections on Spanish and English schools of thought most useful, as these are most removed from modern sport fencing, and least accesible through modern authors (who have been heavily influenced by Asian, Pacific Islander, and other edged weapons arts, and their own theories). For example, Ramon Martinez is absolutely brilliant at explaining the Spanish school of fencing as he interpretes it, but he tends to gloss over shortcomings of Spanish Fencing, or John Clements, whose books make reference to parrying with the flat of the sword rather than the edge, which is without practical or historical basis. Castle's vignettes of personalities and events of fencing history add a charming 'gossipy' air to the work that make it very readable, when it easily could have devolved into an arid scholarly listing of unadorned facts and dates. The discussion of Domenico Angelo in England was a delightful snapshot of life among the upper class of England in that period. In a word, brilliant. "Schools and Masters of Fencing" does not claim to be a text on the management of l'arme blanche, but an overview of the history of the weapon. But with this disclaimer, Castle procedes to offer insights into the techniques and evolution of techniques that have become modern sport fencing. Although Castle does not dwell on it, this work offers great insight into the interrelationship of armor, muscle powered weapons, and firearms. The book neatly frames out the golden age of edged and pointed weapons from the time when the obsolescence of armor in the face of firearms made way for the most subtle and refined swordsmanship to the point where reliable repeating handguns made the sword a relic of a more refined but less democratic era. Absolutly top shelf; a 'must read' for a serious classical fencer or student of the history of arms. E. M. Van Court

Although this history of fencing is over a century old, and some of its conclusions are deeply flawed, it is still the most complete and accurate book on the subject. Castle's dismissal of early works on swordsmanship as "The rough untutored fighting of the Middle Ages" is unfortunate. I defy anyone to examine Sigmund Ringeck's Fechtbuch (as translated and interpreted by Christian Tobler in Secrets of German Medieval Swordsmanship) or the anonymous Manuscript I.33 from 1300 (translated by Jeff Forgeng in The Medieval Art of Swordsmanship and analysed by myself and Paul Wagner in Medieval Sword and Shield)and conclude that medieval fencing lacked system and sophistication. Also unfortunate is Castle's evident belief that the history of fencing is a process of steady improvement to the perfection of fencing in his day. It was a good thing for Castle and his contemporaries that they never had to face the trained killers of the middle ages and see their "rough untutored" fighting for themselves. But, quaint 19th century notions of superiority aside, in his description of the fencing masters of the 16th-18th centuries, Castle is unsurpassed. He possessed the rare ability to separate observation from opinion. So, while his opinions may be...interesting, his observations, unsullied by opinion are for the most part accurate. He examined about a hundred different fencing masters and their systems in analyses that are sometimes deep and sometimes quite superficial. Other authors have attempted to write histories of fencing, but none have managed to separate their observations of the old masters from their personal opinions. Hence none are as useful as Castle. As old and as dated as this work is, it still deserves a place on the shelf of anyone interested in the history of swordsmanship. Stephen Hand Author, Spada, Spada II, Medieval Sword and Shield

A REVIEW BY NICK EVANGELISTA:This book is a must for all fencers. It is a font of fencing knowledge, and although much criticized by members of the modern historical fencing movement, it is nevertheless a valuable resource. As the author of "The Art and Science of Fencing," "The Inner Game of Fencing," and "The Encyclopedia of the Sword," and the editor/publisher of FENCERS QUARTERLY MAGAZINE, I recommend this book highly.

This is a very readable and enjoyable history of the evolution of the various "schools"(or philosophies)of self defence with the sword, expressed with a detailed look at their main proponents, the salon masters of years ago. Castle's personal sketches of the masters are enlightening and full of anecdotal material. The accompanying illustrations are mostly reproductions of period wookcuts which are invaluable in themselves. However, the poorly reproduced photographic addenda reveal that Castle was as much as a century off in his ability to identify and date sword types. This of course was not the purpose of his work. Even given this small flaw, I wholeheartedly recommend this for the fencer or martial artist of any level who is interested in the roots of the art. We are fortunate that Mr Castle provided us with such a good, solid history.

Reviews

this sword-like object is actually quite nice looking. I have it hanging on my wall. it looks nice and has a good weight to it.

This sword looks AWESOME, so I bought it for my husband who loves swords! He was very happy with the look, but the feel of the sword has a lot to be desired. The sword is not sturdy, and it shakes alot. If this sword was to be played with, I have no doubt that it would fall apart in my hand. If you want something pretty to look at, then this is your sword for you! Otherwise, move on to something more battle ready.

This is a beautiful sword and makes an excellent costume or display piece. The mirror finish makes the blade shimmer when removed from its leather scabbard. Although not designed to take any real punishment (such as from theatric swashbuckling) it makes an elegant dress sword.

I carried this sword at the Texas Ren Fest for 5 weekends and always received compliments on it. The hilt is large and bright silver, and truely stands out in a crowd of swords. Bare in mind that this sword is just a prop and is probably no good for sword combat. But it's a fine crafted item that is sure to look good on your hip or mounted on the wall.

I like this sword. A LOT! It's well-constructed, it comes with a nifty leather scabbard with shiny silver trim, and it looks good. Excellent for costume, display, or reenacting, but I don't know if the blade was manufactured for "practical" use (theatrical or reeactor sword fighting). Still, it's a good prop. Did I say I like this sword?

Reviews

Mr. Volkmann does a good job of trying to explain the basics of fencing in this text. I do find it a bit disorganized at times, the parts on epee and sabre fencing are interspersed and hidden within the general foil sections. The use of french rather than english terminology can also lead one to confusion. It is a small-run book, crudely printed and bound, which takes away from its real strong suit as an armory reference. This book's best content is its detailed wiring diagrams and schematics. It even includes a plan for building a fencing dummy. Worth having in your library for that alone.

AS I said, this is a great text, though it could use a good rewrite for clarity and ease of reading. While the text is great, the pictures are almost univerally shoddy. They are hard to see, and simply not printed well. That is due to this being published as a xeroxed book, not as a printed book. This is a good way to print a small-run book such as this, but the illustrations really suffer. Regardless, the section on repair is worth the price of admission alone, and the discussion of the various stances and parries is superb. I can still recommend this book.