Robin Hood - La leggenda

Okay, let's get this straight: just because ROBIN HOOD is more realistic and less bombastic than Kevin Costner's ROBIN HOOD: PRINCE OF THIEVES from the same year, that doesn't make it any good. It might be a more traditional film, but I actually prefer the Costner version, despite the many faults, errors and cheesiness, purely because it's a lot more fun.

ROBIN HOOD gets a lot more of the facts right but it's lacking as a decent piece of drama, mainly because the characters, although carefully depicted, are all rather unlikeable. That's particularly true of Patrick Bergin, whose Hood, all wild eyes and wilder hair, appears to be something of a sociopath instead of the folk hero of old; I just can't buy Bergin in good-guy roles, and that's the same here. Stick to SLEEPING WITH THE ENEMY, buddy.

The supporting actors are better, with one exception. Jurgen Prochnow is less hammy but no less amusing than Alan Rickman in the Costner version, and it's always good to see Jeroen Krabbe in Hollywood fare. Owen Teale, Danny Webb and David Morrissey are all good choices as Merry Men. The exception is Uma Thurman, who's terribly miscast as Marian; the scenes in which she disguises herself as a boy are excruciating.

Other than that, the script is overlong and underwritten and the action scenes just aren't very exciting. The sets and costumes are decent though, so it's just a shame that more effort couldn't have gone into making this a rousing swashbuckler of old. Instead it's a dour, uninspiring and ultimately forgettable version of a classic story.

Don't be put off by the "TV" in the title-this is a full-blown, first-class movie. Patrick Bergin gives his Robin a sense of humor and a spark of humanity. Uma Thurman, though not the most beautiful girl in the world (that honor still remains with Olivia), is sexy, vivacious, and definitely post-modern. A few scenes don't quite develop as far as they can, but all is forgiven by the Parade of Fools in the climactic moments. One big difference between this movie and Flynn's is that here they use broadswords rather than rapiers (more realistically). Instead of the "tck tck tck" of swordplay, here there are loud "Clangs" when the blades miss their target. It makes for a really good setpiece battle between Robin and his fierce (here, French) enemy. Nothing will replace the Errol Flynn Robin Hood, but this account is vigorous, funny, and filled with little surprises.

This has just been run on British TV. What a pleasure to see something from Hollywood that feels realistic when referring to something over here (no US cavalry riding to the rescue at the critical moment!!). Apart from that it is also well made, enjoyable and I'm just sorry I didn't start the recorder at the beginning. Uma Thurman is not the most gorgeous Marion I have seen (not too bad either though), but she was believable and that counts for a lot. The action scenes had a touch of authenticity about them that is all too often missing (for example when Robin was handed a staff by Will to battle with John Little it was a thick branch, forked at one end and obviously from a tree, not a martial arts supplier - just the sort of thing that might have been picked up in a real situation <accepting that something like that might well not have been lying around unless it was rotten>). All round, a film I will watch next time it is screened and I hope I manage to get the DVD recorder going in time next time.

In the cinema, as in most areas of life, one occasionally comes across some strange coincidences. In 1960, for example, there were two filmed biographies of Oscar Wilde and two of Coco Chanel in 2009. Two films about Wyatt Earp appeared in 1993/4, although that was due less to coincidence than to creative differences among the team working on "Wyatt Earp", differences which led to the creation of the rival film "Tombstone" on the same subject. In the early seventies two studios were working on disaster movies about skyscrapers on fire, but in this case the coincidence was detected early on and the studios joined forces to produce the film now known as "The Towering Inferno".

1991 was the year which saw two films on the legend of Robin Hood. "Robin Hood: Prince of Thieves", a big-budget Hollywood blockbuster starring Kevin Costner, is by far the better-known of the two. This lower-budget version, simply entitled "Robin Hood", was only shown on television in the USA, although it was released in cinemas in other parts of the world. It did not feature any big Hollywood names; Uma Thurman may be a big name today, but in 1991 she was still more of an up- and-coming starlet.

As in "Prince of Thieves" and several other films on this subject, Robin is portrayed as a Saxon earl, here named Robert Hode. (The idea that Robin was an aristocrat was a later addition to the legend; the recent 2010 "Robin Hood" with Russell Crowe reverts to the original story by making him a Saxon of more humble origins). He falls foul of the authorities, and is declared an outlaw, when he intervenes to prevent a miller, who has been caught poaching the King's deer, from being blinded. He flees into Sherwood Forest, gathers together the "Merry Men", and fights for justice and the rights of the Saxon peasantry against the corrupt Norman nobility.

The film includes all the usual cast of Merry Men, including Little John, Will Scarlett, Friar Tuck and Much the Miller, as well as Maid Marian, but, oddly, not the normal villains. There is no Sheriff of Nottingham and no Sir Guy of Gisborne, and Prince John only puts in a brief appearance. (King Richard does not appear at all, although he is referred to). Instead, Robin's main antagonists are the Norman aristocrats Baron Roger Daguerre and Sir Miles Folcanet. (That is how it is spelt in the cast-list, although "Falconet" might be a more plausible French spelling). Sir Miles is a straightforward villain; it is he who wanted to have the unfortunate miller's eyes put out and he who is Robin's rival for Marian's hand. (She, of course, will have nothing to do with him). Daguerre, however, is a more ambiguous figure. He is Marian's uncle and originally Robin's friend; the two later fall out but are eventually reconciled, and Daguerre is converted to Robin's vision of an England where Saxon and Norman can live together in peace.

One similarity which links this film with the Russell Crowe version is that both aim at a more "naturalistic" view of the Middle Ages to the romanticised "Merrie England" view presented in the Errol Flynn classic "The Adventures of Robin Hood" from 1938 and, to some extent, in "Prince of Thieves". Some might think this sort of naturalism misplaced in a film which is based on legend rather than historical fact, but both directors (John Irvin here and Ridley Scott in 2010) clearly felt that a film dealing with a peasant revolt against oppression should show us something of the conditions against which the peasants are revolting. Mediaeval life is therefore portrayed as drab, dirty and dangerous, not as something colourful and exciting. The look of the film is dark with muted colours; the leafless trees in Sherwood Forest suggest that the story takes place in winter and early spring.

Patrick Bergin makes a charismatic hero, but few of the other characters, Thurman included, make the same impression. There is nothing particularly wrong with the performances of Jeroen Krabbé as Daguerre or Jürgen Prochnow as Folcanet, but neither of them makes as memorable a villain as Basil Rathbone's Gisborne in "The Adventures of Robin Hood" or Alan Rickman's Sheriff of Nottingham in "Prince of Thieves". Another weakness is it that lacks any real exciting or swashbuckling action sequences; not even the final attack on Nottingham Castle really counts as such. The climactic duel between Robin and Folcanet is in nothing like the same class as that between Flynn and Rathbone.

This "Robin Hood" is certainly better than "Robin and Marian" from the seventies, which manages to be both dull and unrealistic, but I would not rate it as highly as either the 2010 version or "Prince of Thieves", both of which could generate greater excitement. As for "The Adventures of Robin Hood", that set a very high standard, and in my view none of the versions since 1938 have really lived up to it. 6/10

Only thing I liked about Costner's RH was Alan Rickman as the Sheriff. But this take was a "stylistic" departure from the old story. The "theives village" was fascinating! And Bergen was a much more convincing Robin. If you like this one check out the BBC TV production, "Robin of Sherwood" (1984) [TV-Series 1984-1986] starring Jason Connery (son of Sean.) It's the most intersting and "magical" of all Robin versions!!