[Jim McDougall]

In references online regarding "The Mark of Zorro" (1920) with Douglas Fairbanks, in the scenes it appears the swords being used are fencing sabers of the period, which it seems it was indicated these being lighter were more adaptable to faster movement. The leading men of these 'swashbuckling' films were often somewhat familiar with fencing, and there were several 'fight masters' who coached them in orchestrating the dynamic action scenes.

With 'stage combat' the movements are broader and more exaggerated, especially with the silent films, where action was the key dynamic of the film.

In "The First King of Hollywood:the Life of Douglas Fairbanks", Tracy Goessel. 2016, p.263, it is noted "...outtakes from Fairbanks' swashbuckling films document that every movement of the blade and leap upon or over furniture was carefully choreographed to prevent the actors from being cut to ribbons.
It is worth noting that the individual shots within the fencing sequences were sustained in length. Most Hollywood films keep sword fighting sequences to a maximum of three moves per shot: thrust, parry, counterparry. More than this and untrained actors can get hurt".

While visually, it seems the 1920 film was with fencing sabers, this dialogue suggests that actually viable swords might have been used in some degree with some of the extras.

In the scenes shown in these attachments of the 1920 'Zorro', it can be seen that Zorro has a pistol. As always, the only observations on weaponry as captioned speak ONLY of the pistol, and note observantly that it is a percussion lock, anachronistic to the period.
There are NO references to swords in these captions, as typically the case, but guns seem always of interest. Hmmm.

In an account by an actor in "the Iron Mask" (1929), he complained to the famed fight master Fred Cavens about the use of 'protective sheaths' on the tips of the rapiers (which he suggests are in 'Spanish' style).
Cavens responds, "...after each contest, there are many hands bleeding. What would it be if they were not protected by this sheath? I can almost teach the notions of fencing to the actors, but as for the extras, it is impossible and there is not enough time. It is because of this that each contest looks like a sharpening of knives-flic, flat, whirling their rapiers , big gestures to be skewered a hundred times!".

from "Douglas Fairbanks: and the American Century" (J.Tibbetts & J.Welsh, 2014, p.373).

On these early films, there was also a well known historian, artist, sculptor who was an advisor and consultant named Dwight Franklin, supervising set production and appointments etc. I learned of him through authors on these topics I had spoken with, and in checking with Los Angeles County Museum, there is a notable collection of vintage weapons of his that was donated some years ago.
While I have not yet seen these, I understand they are indeed authentic, and am compelled to think they may be sourced from the holdings in studio prop departments.

The last photo is of an on board 'melee' (?) in the 1940 production of "the Sea Hawk" ( "Hollywood History of the World". George MacDonald Fraser, 1988, p.75). I am unclear on how this could be imagined as a pitched battle.. it is patently ridiculous. The men are all holding swords up high,wide open to attack, and any sort of combat would be impossible.
In any case, the swords seem to be of epee, cuphilt and other, but to be of likely antique nature.
By this time, as through the 30s, there were huge stocks of props, costumes and fixtures in the empire of these movie studios in warehouses.

As yet however, I have not found any information on these studio warehouses, what became of the holdings, or any reference to authentic items, especially weapons, within them. I would appreciate any reading this who might have such information letting me know.