Robin Hood

I am a history teacher, so on one level, films like "Robin Hood" make me a bit crazy. However, it is so entertaining and fun that, for once, I need to just chill out and enjoy the film--and keep pesky reality from interfering with enjoying a darn fine film! Let's briefly talk about the film's MANY historical inaccuracies. Like all Robin Hood films as well as the various Ivanhoe films, King Richard I (a.k.a. "the Lion Hearted") is shown as a virtuous and good king, while his brother, John, is shown as a conniving dog. While history has not been kind to John (and it probably shouldn't be--especially as he unwisely took on the Church and lost as well as the Barons), it has somehow created a myth about Richard totally undeserved. In my opinion, he was the worst kind in English history and I assume most historians would agree that he at least was in the top 2 or 3 of the worst. He cared less about ruling England and spent almost his entire reign in his French territories or out massacring people in the Crusades. Now this does NOT mean that Richard was any sort of religious zealot. Instead, he was an opportunistic maniac who simply liked killing people!! His atrocities while on the Crusades are simply amazing for a supposedly Christian king--massacring entire towns and breaking pretty much every one of the 10 Commandments!! He was a horrible, horrible person in every respect--and NOT the hero he's portrayed to be in films.

As for Robin Hood, he didn't exactly exist. Now there was a crook who was similar in some ways--though he lived later than the hero of legends and had the pesky habit of stealing from the rich and giving to himself!! Instead, the Robin we know about is passed down from legends and songs and as a result, there are many differing (and often diametrically opposed) stories about this swell guy--all of which are pure hogwash.

Now you'd think after my complaints that I couldn't have possibly liked the film. Well, this isn't the case simply because apart from the historical license, this is a perfect film--and as good a silent film as you can find. While I have some doubts as to the truth of contemporary stories that Douglas Fairbanks did ALL his own stunts, the stunt-work in this film is as good as any silent film--and better than what you'll even find today. That's because whether it's always Fairbanks or not, the physicality of the stunts is amazing--and even better than Fairbanks' other great films. Plus, if it ISN'T always him doing the stunts, it's integrated so well that you could swear it was! Now if all the film consisted of were great stunts, it would not be a great film. I personally hate films that are all stunts and with lousy plots ("Mission: Impossible" is a great example of this). Howeverr, the film also features some of the loveliest film work I've ever seen--with cinematography that is breathtaking and highly artistic. For you artists out there, the camera work, sets, costumes and style is pure art nouveau come to life--like it was lifted right off a painting from this craze of the 1890s and early 1900s. The plot is pretty good as well--and I especially like how the lion's share (nice choice of words, huh?) is about how Robin came to be an outlaw--something even the wonderful Errol Flynn version failed to do (though it, too, is a classic). In addition, grand acting, a huge cast and a well-spent budget all worked together to make a perfect film...provided you can ignore the historical inaccuracies. Any person who considers themselves a connoisseur of silent films must see this film--it is that important and that ground-breaking. A delight from start to finish.

By the way, that IS Wallace Beery as King Richard!

Fantastic production design which set the standard, and still probably does for Medieval epics. The Castle Fairbanks had constructed stone by stone, the costumes and the literal "cast of thousands" in the opening hour are second to none. Great attention to detail. The story itself however is half and half. Fairbanks was a great choice to play Robin Hood, it's just too bad we don't get to see him swing into action as the bandit of Sherwood until after a long, drawn-out first half concerning King Richard and Huntingdon (Robin) heading off for the Crusades. There is just too much time spent setting up how/why Huntingdon becomes Robin Hood to make it enjoyable as a purely Robin Hood movie. Errol Flynn's version improved on it by a mile in 1938, leaving out the fat and concerning itself only with Robin's adventures in Sherwood, and adding more heart and humor if not replicating the grand scale of pageantry depicted in this version.

Providing a link between both films, of course, is Alan Hale Sr. playing Little John. Again, his most preferable portrayal is in the '38 version. As far as other cast members, Wallace Beery is memorable as King Richard and Sam de Grasse is a perfectly snide Prince John. The other cast members are adequate enough.

The DVD edition of this film provides a very nice print and is well worth viewing if you enjoy old silents, or are a fan of the Robin Hood legend as I am. Many purists have complained about the musical soundtrack but not being an aesthete of Silent films myself I found it to be not too bad.

Not the classic version of Robin Hood on film but still, there are many things to like about it.

...and may never want to see it again.

My biggest problem with the movie was the strange pace. In the beginning, before the Earl of Huntingdon becomes Robin Hood, things move as slowly as a snail. The movie is just over two hours long and could have been much shorter. For example, it opens with a long jousting tournament that could have been completely removed. But after Huntingdon goes AWOL on King Richard's Crusades (which are disturbingly glorified in this movie) to protect England from the tyranny of evil Prince John and adopts the alias Robin Hood, things suddenly start moving at break-neck speed.

Douglas Fairbanks shines in this film, creating a Robin Hood with surprising heart and humanity for a silent movie. But in a movie that was a big-budget blockbuster for the 1920s, Fairbanks's star is often eclipsed by needless pageantry, as well as by his own less-talented co-stars, particularly Wallace Beery as King Richard, the so-called "lion hearted" king who spends most of the movie laughing. He laughs when he sees that Earl of Huntingdon (Robin Hood) is scared of women, he laughs when he defeats the Muslims in the Crusades, he laughs when he discovers that Robin Hood is Huntingdon is disguise, and he laughs as he tries to barge in on Robin and Marian's wedding night in the final scene. Before long, you'll be wondering why the heck everyone in Nottingham reveres this guy, or you'll be asking the question I heard someone sitting near me in the theater whisper: "What is so funny, anyway?" Enid Bennett, playing Lady Marian, seems like a good actress, but it is hard to tell, as she's given little more to do than faint whenever a fight starts and wake up once the action's over. Her romance with Robin Hood, however, is definitely worth watching. My favorite scene in the whole movie was their first kiss: When Robin leans in toward her, she modestly turns away, and he settles with kissing the hem of her sleeve instead.

This early silent epic was actually the sixth version of the classic English fable to reach the screen, and it remains, even today, by far the biggest. Every shot is framed to highlight the extraordinary production design, which included a full-scale medieval castle built just off Santa Monica Blvd in Los Angeles, reportedly the largest set ever constructed for a motion picture. The film draws heavily on the romantic heritage of chivalry, and favors the origins of the character over his legendary exploits, following the Earl of Huntingdon (not Locksley, as in later films) into the Crusades, where he and King Richard are marked for death by the treacherous Sir Guy of Gisbourne. It isn't until the fourth (or fifth) reel that Douglas Fairbanks (in one of his definitive roles) finally exchanges his suit of armor for Robin's trademark feathered cap, and goes (literally) skipping through Sherwood Forest. Viewers more accustomed to the Errol Flynn archetype may find it an odd interpretation of the role, depicting Robin Hood as a girl-shy, over-age adolescent, liberated when he turns outlaw. And Fairbanks, always more acrobat than actor, all but dances through the part.

This is probably the most complete of the cinematic tales of this hero of 13th Century English folklore. Douglas Fairbanks assumes the role of the fabled Earl of Huntingdon before King Richard (Wallace Beery) heads off on the Third Crusade. It is only whilst on that holy mission that he discovers the brutality being carried out at home by the King's errant brother Prince John (the superbly ferret-like Sam de Grasse). He feigns an excuse to the King to return home without explaining why, but falls foul of one of John's spies and is left, injured and betrayed, to rot in a foreign tower. Luckily, "Little John" (Alan Hale) is also left and soon they are free, home and rallying the people against their would-be-usurper and his fiendishly horrid sidekicks "Guy of Gisbourne" (Paul Dickey) and the High Sheriff (William Lowery). The former of these two glorified hoodlums takes a shine to the "Lady Marion" (Enid Bennett) but can Huntingdon - now adopting the moniker "Robin Hood" save her from his evil machinations, and thwart the power hungry ambitions of Prince John in time? The biggest budget of the time ($1.5m) went into this and it is easy to see how - the sets, especially around Nottingham castle, are superb; the cast plentiful and the end to end action scenes really are a joy to watch. Fairbanks thinks nothing of scaling an hundred foot wall or fighting off dozens of the Prince's (admittedly pretty hopeless) soldiers as he determines to free his land from oppression and return it to true government. Bennett is beautiful as "Marion"; she has a feistiness that you don't always see in the frequently soporific heroines of the 1920s where the eyes were the prize. The star is at the top of his swashbuckling game, indulged totally by Allan Dwan and Arthur Edeson's grand scale - sometimes intimate - but certainly rousing photography. Fabulous entertainment, this....