In the days before home video, the only way for people to watch films at their complete convenience were to use cinema projectors in their homes. Those devices, usually using Super 8 format, were expensive, impractical and almost exclusively used for watching home films or animated cartoons for children. The author of this review witnessed one of the rare occasions when Super 8 reel contained something different was at the friend’s birthday party, when the parents showed last part of The Adventures of Robin Hood, 1938 film directed by Michael Curtiz and William Keighley. That was a very good choice for any Super 8 collector, because the film was and still is one of Hollywood classics that represents highest standard of swashbuckling genre and family entertainment.
The plot is, as the title suggests, based on the popular legends from medieval England about world’s most famous fictional socialist and his direct methods of wealth redistribution. In this film he is introduced as Sir Robin of Loxley (played by Errol Flynn), Saxon noble living in 1190s England ruled by King Richard the Lionheart (played by Ian Hunter), a just king that treats all of his subjects – Norman aristocracy and Saxon common folk – fairly. Unfortunately, Richard has joined Third Crusade and went to fight infidels in Holy Land, allowing his scheming brother Prince John (played by Claude Rains) to start taking power in his absence. When Richard during the return to England gets imprisoned by Leopold of Austria Prince John starts collecting taxes, allegedly to collect ransom for brother’s release, but actually to buy support of other nobles and take throne for himself. Those taxes, enforced through lot of violence, cause great hardship for Saxon folks and Sir Robin would have none of it. He comes to Nothingham Castle and openly challenges Prince John and his main confederates – sinister Guy of Gisbourne (played by Basil Rathbone) and effete Sheriff of Nottingham (played by Melville Cooper). Despite being immediately sentenced to death, he makes daring escape and in the Sherwood Forest gathers band of supporters – poacher Much (played by Herbert Mundin), Little John (played by Alan Hale, Sr.), Will Scarlett (played by Patrick Knowles) and Friar Tuck (played by Eugene Palette). They soon become small army that starts guerilla campaign against Sheriff’s and Gisbourne’s tax collectors. With Sheriff unable to catch Robin directly, he proposes a trap in form of archery contest which Robin, as the most famous archer in England, would have to attend, even under alias. Robin goes there, partially attracted to Maid Marian (played by Olivia De Havilland), beautiful Norman noblewoman who also falls in love with dashing outlaw.
The Adventures of Robin Hood with budget of 2 million US$ represented the most expensive film in history of Warner Bros. by that time. Much of that budget was increased by the use of new and Technicolor technology that made this swashbuckling adventure period epic look very different from socially conscious gangster films which had been that studio’s speciality. The project, which included a lot of financial risks, was brainchild of Hall B. Wallis, legendary producer who would ultimately make all the most important decisions – use of colour instead of black-and-white film, casting of Errol Flynn instead of James Cagney, firing of director William Keighley whose tempo of shooting was too slow and bringing more expeditious Michael Curtiz (of future Casablanca fame) to replace him. Another important decision was to hire Erich Wolfgang Korngold, Austrian opera composer who had already worked in Hollywood before, but whose Oscar-winning score for Adventures of Robin Hood would become the most popular and best known part of his opus. Korngold’s concept of “opera without singing”, used for this film, gave the foundations of modern film music and John Williams, the best known of all film composers, gave credit for this film as inspiration for his work.
But the name most people associate with this film is Errol Flynn. Australian actor who became Hollywood star only recently used opportunity to play legendary character of Robin Hood with combination of roguish charm, supreme confidence (especially in the scene when coldly defies Prince John while surrounded by his soldiers) and immense athletic ability. Partly through doing his own stunts, and partly with the help of top Hollywood stunt talent, he gave supreme performance that would make him one of 1930s top action stars. Flynn was also helped by Olivia De Havilland, British actress with whom he starred in two previous and would later star in five more, exploiting strong chemistry between two actors first used in Captain Blood in 1935. Relationship between Robin and Marian, despite not straying from conventions of the period, provides just the right amount of the romantic content to the film. Basil Rathbone, despite his character being written as mostly one-dimensional villain, is menacing and memorable, especially in the final sword fighting scene when Rathbone shows great athletic skill and his character proves to be worthy opponent to Robin Hood. However, like in all great films, cast also relies on strong supporting cast, especially many character actors who provide something of a comic relief, whether they play Robin’s associates like Herbert Mundin (who tragically died in car accident shortly after premiere) as Much or Melville Cooper as Sheriff of Nothingham. Irish actress Una O’Connor is particularly memorable in semi-comic role of Maid Marian’s servant Bess.
The Adventures of Robin Hood as a film that brought action, romance, adventure, humour and recreation of exotic past in colour is something still rare in late 1930s. As such it was destined to become huge commercial success and Warner Bros. didn’t have much qualms of making few more Technicolor productions in next few years. It was also universally hailed by critics. It success, however, wasn’t only due to great uses of new technology, talented stars and content that provided escapist entertainment for the audience still suffering from Great Depression. The script by Norman Reilly Raine, Seton I. Miller and Rowland Leigh was also reflection of the time it was made and it could be interpreted as commentary on socioeconomic conditions in late 1930s. Most people in the audience were more likely to see themselves in utterly impoverished Saxons than arrogant Normans and the message of “stealing from the rich and giving to the poor” was quite popular and in line with socialist ideas or welfare programs associated with New Deal. But authors of the film rejected all radicalism; the script, through the words of Robin Hood, insists on tolerance and transcending the ethnic feud between Normans and Saxons, with theme of national unity resonating in times when another world conflict was more likely. This dimension of The Adventure of Robin Hood is probably missed by today’s generation, but even those who don’t care about this delightful mix of escapism and populism would probably enjoy and appreciate Classic Hollywood craftsmanship at its best.
RATING: 9/10 (++++)
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