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Passable version based on the legendary character with spectacular fights and average production values . In 13th century England, Robin (Richard Greene) , the World's Most Renowned Swordsman , along with band of marauders as Nigel Green as Little John , Niall MacGinnis as Friar Tuck and Darren Nesbitt as Martin confront local corruption and lead an uprising against the Sheriff that will forever alter the balance of world power . Robin lives again , a hero of every villain , friend to those who have friends . The movie now opens with a man (Desmond Llewelyn as wounded fugitive) riding into the forest on horseback and his identity is never revealed . Robin and his men rescue an unnamed rider seriously wounded who is fleeing to Sherwood Forest on his horse , being chased by the Sheriff's men . Robin absolutely refuses to turn him over to the Sheriff who offers him a full pardon in exchange for the wounded . The sheriff of Nottingham (Peter Cushing) schemes to confiscate the estate of the Lord of Bortrey, who has deceased on Crusades . The Earl of Newark (Richard Pasco) takes an interest in Robin's skill with a arch and puts him through a number of proofs . The Archbishop of Canterbury speaks against this scheme , and the sheriff plans to eliminate him . Robin Hood pretends to avoid the killing of the Archbishop of Canterbury ,Hubert Walter (Jack G. Willim), who is blocking their plans to confiscate a dead nobleman's ownership in the shire for the schemers ; Maid Marion (Sara Branch), meeting him thinks him the leader of a gang of murderous , and leads him into a masquerade .

The movie has acceptable action sequences well staged with stylish and vitality , adventure , romance and is pretty entertaining ; however being realized in TV style . There are some nice action sequences including the battles in forests and the ending confrontation at the climax of the film . Richard Greene was the only actor to reprise his role from the TV series , the other roles were played by an entirely new set of actors. The series formed by 143 episodes were starred and mostly produced by Richard Greene . The movie was shot on natural sets and Irish woods , Ardmore Studios, Herbert Road, Bray, County Wicklow, Ireland and interior scenes in Powerscourt Estate, Enniskerry, County Wicklow, Ireland with functional production design by Joh Stoll who subsequently took in charge the settings of ¨Laurence of Arabia¨ and ¨The collector¨.

Robin Hood, also known Robin O'Locksley and the Earl of Huntingdom, is probably and sadly a creation of romantic imaginations . If Robin Hood did exist, it's almost certain that he was not a Saxon , though his enemies may well have been the Norman sheriff of Nottinghan and Prince and later king John Lackland.

The motion picture was professionally directed by Terence Fisher . He was an expert on terror genre for Hammer production , his best films were the following : "So Long at the Fair", Portrait from Life (1948), "Dracula", ¨The Revenge of Frankenstein¨ (1958), ¨The mommy¨ (1959), The Stranglers of Bombay (1959), "Two Faces of Dr. Jekyll", ¨The brides of Drácula¨ (1960), "Curse of the Werewolf", ¨The phantom of opera¨(1962), "The Gorgon", "The Earth Dies Sceaming", "Dracula ,Prince of Darkness" and "Frankenstein Must Be Destroyed".

Other versions about this famous personage are the following : ¨Robin Hoos and his Merrie men ¨(1952) by Ken Annakin with Richard Todd and Peter Finch ; ¨Robin Hood price of thieves (1991) ¨ by Kevin Reynolds with Kevin Costner , Alan Rickman and Morgan Freeman , the same year was exhibited ¨Robin Hood¨ by John Irvin with Patrick Bergin and Uma Thurman but was a flop though the critics considered best adaptation. The classic rendition is ¨The adventures of Robin Hood¨ by Michael Curtiz with Errol Flynn and Olivia De Havilland and recent rendition Robin Hood by Ridley Scott with Russell Crowe , Oscar Isaac and Cate Blanchet.

This is not as bad as all that. Terence Fisher as ever does a competent job, there are reasonable production values and some rather fetching photography. I always thought Richard Greene a little too schoolmasterly for an outlaw, and he is here rather portly, but he can certainly handle a bow. Nigel Greene and Niall McGinnis are well cast as Little John and Tuck, Peter Cushing is an excellent Sheriff, and Richard Pasco does well as the ambiguous Lord Newark. Oliver Reed's camp henchman is perhaps less successful.

The conspiracy plot unfolds at a relaxed pace and resolves satisfyingly. The weakest element is the tacked on romance with Sarah Branch's rather bland Maid Marion.

All in all a rather charming period piece, that gets closer to the spirit of the original ballads than most versions.

One of the big disappointments of my then very young life was setting off with my pocket money to view this one many, many years ago. I was a terrific fan of the Richard Greene TV series and used to gurgle and splutter out the theme song from my first conscious days of television viewing. When I learnt that a full FILM version was therefore showing at the local Odeon, I was expecting great things. I have watched the film now about four or five times since as it has appeared on afternoon TV and must say that my disappointment has still been quite strong every time I have viewed it! So what is the problem, (or, rather, what are the problemS)? Firslty, the whole thing must have been made on the then financial equivalent of 75 pence, i.e. the production values are STILL those of the TV series and while shaky scenery and a small number of bushes CAN be taken as a castle or a large forest in a half hour TV programme, (with a break for commercials), it will not work over one and a half hours on the big screen. Secondly, the acting is on a par with the scenery. Richard Greene moves fairly effortlessly from the small screen to the big, (mind you, he had had quite a few previous roles in the cinema, such as in the 1939 Basil Rathbone version of "The Hound of the Baskervilles"), but the rest of the cast, (with the possible exception of Peter Cushing as the Sheriff of Nottingham), are quite forgettable and it seems strange that NONE of the "familiar faces" from the TV series was prevailed upon to appear in the film version as well. At least it would have provided some continuity and, presumably, would have made the inter-action between the actors come to life more than is the case with the film that emerged. Finally, one hardly expects Marlowe or Schiller in terms of plot development with this kind of thing, (in fact I doubt if I had any idea of plot when I first saw the film, probably just waiting more for the next fight scene!), but, even so, this really is feeble in terms of story and makes the Kostner and Flynn versions seem like high literature in comparison. Mix in fairly flaccid direction, poor editing and continuity and a "bargain basement" music score and what have you got? Something to view while shelling peas or waiting for the rain to clear on a Thursday afternoon or, if you saw the 1950s TV series, a clear reminder of HOW really difficult it is apparently to transfer a TV hit to one on the big screen. If you want Robin Hood for the LATTER, then without question it is, (in ascending order of merit), still: Kostner's "Prince of Thieves", the made-for-TV British version of the same year as Kostner's, (and which was totally overshadowed by the latter), and, (of course - you know already, don't you?), the Errol Flynn 1939 film, (still unsurpassable as a talkie version).

Judging by existing reviews, individual opinion seems to rely very heavily on the views of fans of the 50s TV series (i.e. old blokes like me), versus those who came in cold and took it on face value. It is important to note that the film was never intended to have any relationship to the TV version. Richard Greene, of course, starred in both... and that's about the extent of it.

The Sapphire Films television series was a whole different kettle of fish. American writers blacklisted in the McCarthy era wrote under pseudonyms and packed the first two seasons with subtle left-wing ideology. The last two seasons fell into a more formulaic adventure groove, but still managed the occasional political overtone.

The movie was typical of the Hammer production philosophy... take what little budget there was, invest heavily in production costs (vivid colour, widescreen ratios), and hire a passable cast with what's leftover (including at least one bonza babe). I'm betting Greene came pretty cheap and had the added bonus of drawing in fans of TV series.

What you see is what you get. It still looks great, the storyline is good enough to last out the whole 77min, and there isn't a political statement in sight. For mine, 6.5 stars out of ten.

For Britains' Hammer Studios, Gothic horror was their specialty, but they also tried their hand at various other genres. Here, they take a stab (pardon the expression) at the legend of famed outlaw Robin Hood and his band of Merrie Men. Richard Greene, who'd had plenty of experience playing Robin on TV, essays the role once again for this tale of political intrigue, and nefarious, double-crossing villains. The Sheriff of Nottingham (the great Peter Cushing), in particular, is one of those kinds of guys whose word is NEVER to be trusted.

"Sword of Sherwood Forest" may lack true distinction (for many people, the definitive Robin Hood film will likely remain the version with Errol Flynn), but it's not bad at all, either. It's capably directed by prolific Hammer filmmaker Terence Fisher, is gorgeously shot in widescreen (by Ken Hodges), and features reasonably rousing swordplay and action sequences. It also has a truly lovely Maid Marian in actress Sarah Branch.

The handsome & dashing Greene is well supported by Cushing (always a delight, in a solid villainous performance), Nigel Green as Little John, Niall MacGinnis as Friar Tuck, singer Dennis Lotis as Alan A'Dale, Jack Gwillim as the Archbishop, and a fun Richard Pasco as the Earl of Newark, who wishes to exploit Robins' ability with a bow & arrow. Oliver Reed & Desmond Llewelyn have small, unbilled roles.

Although not terribly memorable in the end, I would still tend to prefer this over the 1991 Hollywood version (performances by Alan Rickman and Morgan Freeman notwithstanding, course).

Seven out of 10.

I'm a great fan of Robin Hood and maybe being too critical of this film given its time of making. But it was hard work, it reminded me of a school play, it was enjoyable purely from a look back at how they used to do films sort of way. Peter Cushing and Oliver Reed will certainly have looked back at this film and have a quiet chuckle on how bad it was and ameteur. I'm trying not to be too critical and let it get away with being an innocent and OK film but the more i think about it the more i find myself wandering why i bothered to watch it. I suppose the reason being that after watching an hour i thought i might as well see it through. The language sorted of drifted from modern day to olde English, if its raining and there's nothing else to watch then give it a go but don't get too comfy or you will drift off.

A real oddity from Hammer Films, SWORD OF SHERWOOD FOREST (1960) is their only film based on a popular UK TV series which actually features the star of the show in the movie. The rest of the cast has still been replaced, however, and because of the nature of the story, it almost has to be an "alternate universe" continuity as I see no way it could fit into the run of the TV show.

Robin Hood (Richard Green) faces off mostly against the Sheriff of Nottingham (Peter Cushing), which means you've got "Sir Henry Baskerville" fighting "Sherlock Holmes"-- although Cushing comes across more like "Baron Frankenstein" in this one.

Also in the cast, I realized on my 3rd viewing, are no less than 3 actors who were in JASON AND THE ARGONAUTS-- Little John is Nigel Green (Hercules), the Archbishop of Canterbury is Jack Gwillim (King Aeetes of Colchis), and Friar Tuck (the film's comic relief) is Niall MacGinnis (Zeus). Of course, having Richard Green & Nigel Green together also means you have 2 different "Sir Dennis Nayland Smiths" side-by-side for most of the picture!

Oddly enough, the REAL villain turns out to be "Edward, Earl of NewarK", played by Richard Pasco, who I've never seen in anything else, but apparently played baddies in 3 different episodes of the TV series.

Also in the cast are Derren Nesbitt (WHERE EAGLES DARE) in one of his rare "good guy" roles, Edwin Richfield ("The Sea Devils") as a minor villain, and Oliver Reed (THE BIG SLEEP) as a total bastard, who, inexplicably, had his entire performance dubbed by another actor.

It's a "nice" film, but not a great one, as the plot tends to ramble and never quite builds any kind of momentum, resembling more than anything a 30's serial with the cliffhangers removed. Richard Green was one of the producers, and it's not by one of Hammer's regular writers, either. Still, anything with Peter Cushing, directed by Terrence Fisher is worth a look.

This is Robin Hood without any zest...just plain dull.

If you're going to do the Robin Hood story, at least a filmmaker should blend in all the proper elements that make the legendary story so popular, as the 1938 film did with Errol Flynn. But here we have Hammer trying to justice to the tale and unable to disguise the fact that it's done on a low-budget scale with less than impressive actors in all the important character roles.

RICHARD GREENE would have been a suitable choice if he'd played the role on the big screen some fifteen years earlier, but he's clearly too mature (and a bit tired looking) to be the dashing outlaw of Sherwood Forest and this faulty bit of casting extends to the other roles too. I never saw the television series starring Greene so I can't comment on it or make a comparison.

It gets off to a dull start with a meeting between Robin and Marian (SARAH BRANCH) that (as in the Flynn film) has them on less than amicable terms at first sight. The difference here is that she's been bathing in the nude before Robin and his men come along but quickly dresses modestly and has her first rude encounter with the outlaw.

There's no "ye olde English" flavor to the dialog--it sounds more 20th Century than anything else. PETER CUSHING turns up as the Sheriff of Nottingham who wants a wanted criminal that Robin Hood is sheltering. He promises Robin a free pardon if he delivers the criminal to him, but Robin refuses the bargain.

Just as well. The Sheriff turns out to be untrustworthy and never keeps his word. NIALL MacGINNIS doesn't seem rotund enough to play Friar Tuck but he shows up midway through the film to form an alliance with Robin. A further plot device involves the Archbishop of Canterbury, but it's a muddled bit of plotting that seems insufficiently interesting and takes attention away from Robin and Marian.

Summing up: Handsomely photographed in color with some interesting archery scenes, but a lackluster script and so-so performances do nothing to make the film anything but plodding and dull. The story simply has no focal point.

Trivia note: SARAH BRANCH's hair-style and make-up looks straight out of the 1960s--a very modern looking Maid Marian.

Hammer studios are, obviously, most famous for their horror films; but the best of those tend to be the ones that are based on a classic story, so, technically, this take on the Robin Hood legend isn't a far cry away from what Hammer do best. Technicalities aside, however, this definitely isn't one of the great studio's finer hours. The film is flawed to oblivion, and it doesn't capture that Hammer essence that the studio's better films did so well. I go into Hammer films expecting a good time, but this one actually managed to be boring. There's still some camp on offer, but the story plays out in a way that is neither interesting nor fun. As usual with Hammer, elements of the story have been changed; but unlike usual, they've been changed for the worse and the script fails to deliver a story that even comes close to matching the original. This is one of the rare times when Hammer would have been better off simply filming the story that had been doing the rounds for years before this film was ever put out.

The dull and muddled plot follows Robin Hood and his merry men who, after finding a man nearly dead, take him in. It soon becomes apparent that the dastardly Sheriff of Nottingham wants this outlaw, and gives Robin Hood a dubious offer of a full pardon. Robin is having none of it, and ends up joining in a plot to assassinate someone or other. The plot isn't overly complicated, but it's not very well handled and because the film is rather boring, it makes it very hard to follow what's going on. The best thing about this film is the fact that Hammer's finest asset, Peter Cushing is in it. Under the direction of Hammer's most punctual director, Terence Fisher, Cushing once again turns in an excellent performance and shows that he can make good of even the lamest material. Oliver Reed also has a small role, but the fact that the lead went to Richard Greene brings it down. For a start, he's too old to play Robin Hood; and secondly, he just doesn't have the charisma to carry the film off. When you're cheering for the baddie because a better actor is playing him, you know you're in the wrong movie. All in all - Hammer completists only!

Sword of Sherwood Forest is directed by Terence Fisher and written by Alan Hackney. It stars Richard Greene, Sarah Branch, Peter Cushing, Richard Pasco, Nigel Green, Oliver Reed and Niall MacGinnis. Music is by Alun Hoddinott and cinematography by Ken Hodges.

One of Hammer Films' Robin Hood movies that reinvents the legend with some lively swashbuckling glee. Plot is kind of incidental, this really is about some good honest family entertainment involving sword fights, bow and arrow skills, political machinations and some costume malarkey. There's a good story here, based around a dastardly assassination plot that Robin and his merry men get dragged into, this part of the pic is well written and directed with assuredness by Fisher, one of Hammer's greatest directors.

Richard Greene reprises the role of Robin that he played in the popular TV show The Adventures of Robin Hood, and whilst he is unlikely to be at the top of anyone's favourite Robin Hood portrayal lists, he's comfortable in the tights and engages heroically enough in all the right places. Cushing is the class act on show as the evil Sheriff of Nottingham, and Branch is fetching as Marian, though the sparks never fly between herself and Greene.

Sadly there's irritants that stop the film pushing through the forest to breathe fresh air with the best of the other Hood outings. So much focus is spent on Robin the man, his merry men barely get a look in to impact on proceedings. Which when you have Nigel Green as Little John amounts to a crime of a wasted opportunity. The choreography for all the fight scenes is adequate enough, but it lacks dynamism, while Oliver Reed may be enjoying himself greatly, but he adopts an accent that I don't think has been invented yet!

Still, lots of fun here regardless. 7/10

Sword of Sherwood Forest (1960)

** (out of 4)

Hammer made their name by reworking Frankenstein, Dracula and The Mummy but here they try their hand at Robin Hood. Richard Greene plays Robin Hood while Peter Cushing tackles the role of the Sheriff of Nottingham but the end results are rather dull. Like their horror films, this film has the sexuality and violence picked up but director Terence Fisher doesn't bring anything else to the table. The 2.35:1 aspect ratio makes for some good looking scenes but none of the scenes contain any energy to keep the viewer going. Greene is pretty forgettable as Robin and Sarah Branch as Maid Marian comes off even worse. Cushing is good in his role and keeps the film from being worse than it is. Oliver Reed also has a small role.

One thing I did learn about Sword Of Sherwood Forest is that it's no compilation film made from the British TV series Robin Hood. Other than Richard Greene in the title role none of the regulars appear from TV appear in the film.

The plot has Robin Hood getting involved in a dispute with a certain lord who feels cheated and none other than the Archbishop Of Canterbury and King's Chancellor Hubert Walter.

The British show was syndicated here and Richard Greene's American public was used to seeing him in the part. Greene was very popular as Robin Hood on this side of the pond. In my generation he was the real Robin Hood.

Fans of the TV series here and in the United Kingdom won't be disappointed.

Directed by Terence Fisher. Starring Richard Greene, Peter Cushing, Sarah Branch, Niall MacGinnis, Richard Pasco, Nigel Green, Jack Gwillim, Oliver Reed, Vanda Godsell, Edwin Richfield, Charles Lamb, Derren Nesbitt.

Unusual Robin Hood story from Hammer Film Productions, where the famed outlaw (Greene, familiar with the role after playing him in the TV series, "The Adventures of Robin Hood") is barely the main character, Maid Marian (Branch) is a blonde, our hero spends as much time feathering targets as he does villains, and the plot gets bogged down in the middle with a dialogue-heavy land dispute involving a pardoned dead outlaw. Okay outing for the evergreen anti-hero is light on action until the home stretch, with rather stiff swordplay and unconvincing arrow-fire, but the production is handsomely mounted with bright Technicolor scenery and good turns from a few of the supporting players. MacGinnis provides warm, benign comic relief as Friar Tuck; Cushing brings a smooth elegance to his interpretation of the Sheriff of Nottingham. The lord wounded at the beginning (setting the plot in motion) is none other than Desmond Llewellyn, aka the original Q from the James Bond pictures.

58/100

The second of three Hammer versions of Robin Hood, which provides posterity with a record of Richard Greene in colour and out in the open air surrounded by real trees amid the very green woodland of County Wicklow (this having been shot at Ardmore Studios in Dublin rather than Bray; which is one reason why it doesn't resemble a typical Hammer production).

Only Greene repeats his role from the tv series, with fifties crooner Denis Lotis making a guest appearance singing a couple of ballads as Alan-a-Dale; while Lady Marian is a platinum blonde in a purple top who in this telling he meets for the first time skinny dipping (what else?). Hammer's most obvious contribution to the casting is Peter Cushing as the Sheriff of Nottingham and Oliver Reed as a saturnine, backstabbing (literally) heavy (Derren Nesbitt being cast against type as one of the merrie men; and Vanda Godsell even more against type as the prioress of a nunnery).

Also characteristic of Hammer is their enterprising commissioning of composer Alun Hoddinott, whose sole score for a feature film this is.

Hammer had earlier enjoyed success with cinema versions of popular British television programmes. This was a big-screen spin-off of the 1950s British television series The Adventures of Robin Hood starring Richard Greene. Terence Fisher had previously directed a few of the 143 episodes.

Filmed in Ireland, this cheerful but thinly plotted effort seems stretched even at 80 minutes. Aimed squarely at a juvenile market, even the title-graphics somewhat recall the cover illustrations of 1960s school history books.

If the story - a fairly routine yarn about a nobles' plot to assassinate a Beckett-like Arch-Bishop of Canterbury - fails to intrigue much, Fisher does have a strong cast, although Richard Greene as Robin is the only actor from the television series. Nigel Green is perfectly cast as Little John but has little to do. Niall McGuiness fares better as Friar Tuck, comically lamenting the fasting rules imposed on his order. Richard Pasco as the chief conspirator gives a tightly drawn portrait of fanaticism. Jack Gwillim is an imposing arch-bishop. Even a young Oliver Reed makes an impression of sorts as a curiously fey henchman to Pasco.

Less impact is made by a rather too obviously dubbed Sarah Branch as Maid Marion. But surely Fisher could have made a bit more of the romantic interludes between Robin and Marion, even within the boundaries of a film aimed at a young audience. These are so cursory they could almost have been cut from the film altogether.

Most memorable is Peter Cushing as a slyly vulpine Sheriff of Nottingham, underplayed to perfection while relishing the opportunities for perfidy the role offers. Promising one of Robin's captured men his freedom if he will betray his fellows he has him shot by crossbow bolt afterwards, ordering his lieutenant, 'When we get back to Nottingham see that a free pardon is made out for Martin of Eastwood, an outlaw...' When Marion upbraids him for his deceit he counters with calculated exasperation, 'Outlaws, madam... you are speaking of outlaws...'

Later, when a peasant challenges him in court of plotting to appropriate the land of a deceased villager, Cushing inquires of his accuser, 'That sounds like prophecy - witchcraft, almost. Are you able to see into the future...?', an insinuation that immediately quells further dissent. It could have potentially been the most powerful scene in the film if only Fisher had broken it up with a couple of more camera set-ups.

The swordfight in the priory is well-staged and exciting. But again Fisher might have made more of Vanda Godsell as the treacherous prioress, to whom he awards, early on, a gloriously malevolent close-up that makes you wish for more.

Where the film succeeds is visually, in its evocation of a romanticised mediaeval England of longbows and crossbows, swords and daggers, chainmail and brightly coloured tabards, all set against a green, thickly wooded backdrop. Here, Fisher's pictorial compositions achieve a strong sense of place in almost every frame, of a narrative absolutely rooted in the forest, the period setting further enhanced by his use of an authentic castle bailey and old stone building for the inn.

It's quite beautifully photographed by Ken Hodges, with the few interiors shot at Dublin's Ardmore studios (Hodges shot many of the black and white television episodes). In fact, it's Fisher's most extensive use of location shooting.

Sword of Sherwood Forest was the last film that Fisher made that wasn't in the horror or exploitation vein. However, at least some elements of Hammer's gothic sensibility leave their imprint - a corrupt and cruel aristocracy, a cowered peasantry, the potency of Christian faith, the verdant countryside, a mysterious medallion of a hawk and a daisy, even an exhumed grave.

I am a huge fan of Hammer Horror but I do also enjoy watching their non horror output too. This adventure yarn about Robin Hood was directed by the great Terence Fisher but sadly this movie - made during the studio's finest period - just feels lacking. Richard Greene played Robin Hood on TV prior to this but I just found him quite plain and dreary as the famous outlaw, no charisma at all. What does makes this worth watching is the ever reliable Peter Cushing as the evil Sheriff of Nottingham, at times he sounds more like Baron Frankenstein, for example he says "Graves are known to be empty, dig it up!" Sporting a goatee beard he does look quite different than usual. One other thing that I liked was that he comes to blows with a sadly uncredited and badly dubbed (why!?) Oliver Reed. As one would expect from Hammer the costumes, scenery etc all look very nice. However despite being set in the English county of Nottinghamshire the large rugged hills make it obvious that it was not filmed there (shot in Ireland). Maid Marian is wearing lipstick and looks more 1960 than Medieval, there are lots of sexist comments and the fight scenes aren't very good. At 80 minutes the time passes quickly enough but it's far from being a Hammer classic.

This is oddball film for Hammer - they did not tread into this genre very often but with that said, it is a decent Robin Hood movie that I quite liked. Call me biased but I really enjoy Richard Greene, Oliver Reed and Peter Cushing.

8/10.

Fight scenes were embarrassing and the death scenes laughable. As for casting, all the other Robin Hood films I have seen portray Friar Tuck as short and stocky. In this film I see a well built man about 5'11" to 6'. I would have given this film a 4 rating but there were enough laughs to make be fell generous.