La revanche des gueux

Gordon Douglas's 1950 dip into the Son of Robin Hood formula turns out to be one of the most spirited and lively of all the swashbuckling Columbia pieces of matinée fodder of their 40s/50s heyday. Gordon Douglas is one of Hollywood's dark horses among genre (mostly action) directors: neither as reflective or consistently stylish in his mise-en-scene as Raoul Walsh nor as spectacular using scarce means as William Witney, his track record in this area is by no means slight. He has made several good westerns (The Doolins of Oklahoma, The Nevadan, The Great Missouri Raid, Only the Valiant, The Charge at Feather River, Yellowstone Kelly, Rio Conchos), two very tough James Cagney vehicles (Kiss Tomorrow Goodbye, Come Fill the Cup), a science-fiction classic (Them!) and an honorable romantic melodrama as a change of pace (the Doris Day/Frank Sinatra remake of Four Daughters, Young at Heart).

Rogues of Sherwood Forest may not have the voltage of the Errol Flynn/ Olivia De Havilland/Claude Rains/Basil Rathbone combo or even the authentic feel and quirky charm of Disney's Richard Todd/Joan Rice/Peter Finch version; but John Derek's energetic acrobatics, Diana Lynn's fetching and proactive Lady Maryanne, and George Macready's really vicious King John make this humble but red-blooded and fast-moving programmer compulsively watchable during its entire 80 minutes.

Since the beloved character of Robin Hood is (hopefully) soon to grace our silver screens once again, it is perhaps appropriate that I should venture now into Sherwood Forest to seek out his lesser-known son (also helpfully named Robin here and in love with a noble maiden named Marianne!) who finds himself at loggerheads with his father's old nemesis Prince (now King) John and is likewise aided by Robin Sr.'s band of merry men – Little John, Friar Tuck, Will Scarlett and Alan-a-Dale. Traveling in the company of these characters always provides an enveloping feeling of nostalgia (illustrated books of his exploits were mandatory childhood reading chez nous) and is a guarantee of entertainment but, this being a modest second-class offering, the results are milder than other more fondly-remembered adventures of theirs. The action is there but performed with little panache and even a curious lethargy in spots but the film's handsome look goes a long way in compensating for this shortcoming, as does the cast: John Derek makes an attractive lead (even though Diane Lynn's bland heroine is another liability), George Macready a smarmy tyrant (eventually being forced by Robin's deeds to sign the all-important historical document of the Magna Carta), Paul Cavanaugh an oily henchman, Billy House a jovial friar but the film's major claim to fame is surely the fact that Alan Hale reprises (for the third and last time – sadly, this was his last film) his trademark role of Little John. This was Columbia's second of three similarly-titled Robin Hood-themed pictures – made in between THE BANDIT OF SHERWOOD FOREST (1946; which had Cornel Wilde playing Robin Jr.) and Hammer's disappointing SWORDS OF SHERWOOD FOREST (1960; with Richard Greene reprising his popular TV incarnation); there was even THE SON OF ROBIN HOOD (1958; starring David Hedison) but it was the product of a different studio.

This film is centered on the son of Robin Hood who's also named Robin. It's definitely in the spirit of the many other Robin Hood films of the era - though most are rather obscure today. I'd watch this one again on a lazy afternoon - entertaining.

7/10.

Of course John Derek is not Errol Flynn and George Macready is not Basil Rathbone, but this Gordon Douglas' directing is more than worth watching. It is fun, fast paced, with a splendid production design, despite the obvious studios lots settings. Columbia pictures was rather good in those cheap medieval tales, not as much as Metro Goldwyn Mayer directed by the likes of Richard Thorpe; I will even prefer Columbia to Universal - BLACKSHIELD OF FALSWORTH was rather lame compared to this one. So, yes, this Gordon Douglas film is an exciting little programmer, perfect for a sunday afternoon time waster. I discovered it in 1975, precisely a sunday afternoon. And don't confound it with another Gordon Douglas' flick of this kind: THE BLACK ARROW.

Personable John Derek makes a handsome Robin Hood, but he can't overcome a lifeless script and weak direction. What does steal the show are the costumes, scenery and brilliant Technicolor. Otherwise, this is a dull affair full of wooden acting and cardboard characters.

It looks magnificent and the sets are really striking, but the script is the main culprit. Even the villains are given little to do but strike angry poses, making one wish for Sir Guy of Gisbourne to show up in the person of Basil Rathbone.

It's a hodge-podge of Robin Hood elements, with Robin's son rounding up all of the "old guys" who helped his father in the past. Alan Hale is on hand to reprise his Little John role for the fourth and last time. He's a tired looking actor in this one, barely able to summon up enough gusto to get through the role.

Diana Lynn is the pretty spy at court who helps Derek with his fight against the palace stronghold. She's lovely but looks out of place in her period costumes since these kind of roles were never part of her past history as an ingénue. Lowell Gilmore has almost no flair as the man who wants to marry her and even George Macready lacks the dynamic spirit to play a nasty villain.

Gordon Douglas can't be commended for directing this one. Pace and flair are two of the missing ingredients, along with a lifeless script.

Not recommended, except for the kiddies who might enjoy the fights.