NFR Project: 'The Adventures of Robin Hood' (1938)

 

NFR Project: ‘The Adventures of Robin Hood’

Dir: Michael Curtiz, William Keighley

Scr: Norman Reilly Raine, Seton I. Miller

Pho: Tony Gaudio, Sol Polito, W. Howard Greene

Ed: Ralph Dawson

Premiere: May 14, 1938

102 min.

Warner Brothers really stepped out of its comfort zone (gangster movies) to create this swashbuckling epic.

Robin Hood had famously and memorably served as a starring vehicle for Douglas Fairbanks, Sr. in 1922. Now, in the sound era, Warners spared no expense – this being only their second feature film to be shot in Technicolor. It was their most costly production to date.

And what color! Very rarely has a film been so completely convincing in creating a world of its own. The massive sets, colorful costumes, and lavish production design give the whole outing an air of authenticity (whether deserved or no). The viewer is immersed in the period.

It is England, the 12^th century. King Richard the Lion-Hearted has been captured by ransomers in Europe. In his place is the evil Prince John (Claude Rains), a Norman who despises the native Saxon people of the country, and who oppresses them with heavy taxation and cruel violence.

Against him is arrayed Robin of Locksley (Errol Flynn) and his Merry Men, who fight for freedom, justice, and the return of Richard. Our gay and laughing hero is opposed by the sinister Sir Guy of Gisbourne (Basil Rathbone). They are rivals for the affection of the young and beautiful Maid Marian (Olivia de Haviland).

In a bravura set piece, Robin enters John’s castle and swears to oppose him, escaping his guards in spectacular fashion. He soon gathers allies, including Little John (Alan Hale, Sr.) and Friar Tuck (Eugene Pallette). Again and again, the rebels defeat the Normans. Robin is captured at an archery tournament (another enormous production piece), but soon escapes.

When Richard returns secretly to England, John tries to have him rubbed out, but fails. Not knowing that Richard is still alive, John sets a date for coronation – but Robin, Richard, and the rest sneak in and disrupt the proceedings. During the massive brawl that results, Robin and Sir Guy finally get to face each other, one on one. In one of the iconic swordplay scenes in film, they battle all over the castle until Robin defeats him. Richard is restored to his throne, Robin and Marian are united.

Errol Flynn is at this best as Robin Hood; he is teamed with Olivia de Haviland, a pairing that would be turned to for eight films. Their chemistry is palpable.

The action is brisk and well-directed; the camera sweeps through the settings, giving scenes a more expansive feel. Every actor is perfectly cast, right down to the reliable Harry Cording as an assassin. Thrills and humorous moments are piled willy-nilly on each other as the film races to its conclusion. There is no down time in Robin Hood.

Another key element in the film’s success is its score by Erich Wolfgang Korngold. Its lush, fully orchestrated approach underpins the scenes with a vibrant intensity. The influence of late German Romanticism is heavy in the music here; this kind of score-writing would become the norm for decades.

The NFR is one writer’s attempt to review all the films listed in the National Film Registry in chronological order. Next time: Bringing Up Baby.