...the quintessential movie swashbuckler.
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"Why, you speak treason!" exclaims Marian.
"Fluently," replies Robin.
OK, forget about Errol Flynn's pageboy hairpiece, admittedly a difficult obstacle to overcome but not entirely impossible, and, Doug Fairbanks notwithstanding, you get the most swashbuckling hero in the history of movies.
In fact, "The Adventures of Robin Hood" from 1938 may be the most exciting retelling of any vintage legend ever filmed, an almost perfect blend of adventure, romance, and high good humor. That it took so long after the introduction of DVDs for the film to make it to disc was a remarkable oversight, but the Special Edition DVD of a few years back and now the HD-DVD help make up for any past lapses. Warner Brothers have done up the film wonderfully well, with a fully restored and remastered print and a good high-definition picture. A swashbuckling adventure is more than ever a swashbuckling treasure.
Hair styles aside, "The Adventures of Robin Hood" is as nearly perfect a costume action epic as one could hope for. Flynn was the perfect leading man; the supporting cast is equally distinguished; the directors, two of them, keep the pace moving along at a healthy clip; the scenery and costumes are sometimes breathtaking; and the musical score, art direction, and editing all won Academy Awards. If the romance seems just a bit stilted today, it's the film's only minor drawback. This is mostly fun for everyone, young and old.
I mentioned Doug Fairbanks, who essayed the Robin Hood role earlier, but Flynn eclipses even the great silent-screen star in his spirited daring-do. Although Flynn professed to have been bored with the role, no one could handle a sword, fly from a chandelier, or charm a lady quite like Flynn, who came to the part after playing similar roles in "Captain Blood," "The Prince and the Pauper," "The Charge of the Light Brigade," and you might say a similar role in real life insofar as charming the ladies was concerned. The term "In Like Flynn" was not invented for nothing. As a movie hero, Flynn couldn't be better: Tall, slim, dashing, impossibly handsome, and unlike a certain boy-next-door American who portrayed Robin more recently, Flynn was an Australian, born in Tasmania, who had lived in England and had a proper accent, a characteristic not lost on Mel Brooks when he made "Men in Tights." One can hardly imagine the studio's first choice, cocky little Jimmy Cagney in the part, but serendipity struck when Cagney was unavailable and Flynn stepped in. The world has been safe for swashbucklers ever since.
The supporting cast is no less felicitous. The beauteous Olivia de Havilland plays the beauteous Maid Marian, coy, flirtatious, and a year away from the much more prime Melanie in "Gone With the Wind." Basil Rathbone is the consummate villain, Sir Guy of Gisbourne, the actor also a year away from his most famous continuing role, Sherlock Holmes. Here Rathbone is the very epitome of the evildoer and every bit the match for Robin. Warner Brothers standby Claude Rains is the corrupt and somewhat effete Prince John, trying his best to usurp the throne in the absence of his brother, King Richard the Lion-Heart. Eugene Pallette is the Friar Tuck I grew up with, and he's still the only person I can picture in the role. Likewise, Alan Hale is the only Little John I can imagine, a role he played in three different motion-picture versions of "Robin Hood"; although people today may be more familiar with his son, Alan Hale, Jr., as the skipper in "Gilligan's Island." Melville Cooper plays the comically sniveling High Sheriff of Nottingham, and Ian Hunter is the noble Richard. Patric Knowles as Will Scarlett is the odd-man-out, never quite establishing himself so indelibly in one's mind. The studio had wanted David Niven for Scarlett, but he was unavailable. Our loss.
William Keighley was the original director of the film. He had directed Flynn in "The Prince and the Pauper" the year before, and WB expected big things of him. However, when the rushes began coming in, the studio felt the action scenes lacked requisite zip; so they brought in veteran Michael Curtiz, who had directed Flynn in "Captain Blood" (1935), "The Charge of the Light Brigade" (1936), and "The Perfect Specimen" (1937), to take over. They were right; Keighley did fine with some of the dramatic encounters, but Curtiz was ideal managing the derring-do.
Most of the picture was made on the Warner Brothers lot, as might be expected, with the big soundstages utilized to their fullest for things like the banquet scene. But the outdoor settings in Sherwood Forest needed a more convincing aspect, and WB found it in a number of Southern California locations and one Northern California spot, Chico's Bidwell Park, the second-largest municipal park in the country. If you ask a Californian what the little town of Chico is most noted for, the respondent is apt to mention the State University, Velveeta, and Bidwell Park. Don't ask; do a Google search on Chico and Velveeta.
Then there were the Oscars, well deserved for the film's music (Eric Wolfgang Konngold), art direction (Carl Jules Weyl), and editing (Ralph Dawson, who may be as responsible as anyone for the movie's fast action and excitement).
A trivia note from John Eastman in his book "Retakes" (Ballantine, New York, 1989): "His (Flynn's) frequent tardiness on the set annoyed cast and crew, and most of his speaking scenes had to be reshot several times because of his bad memory for dialogue. With costar Olivia de Havilland, who had carried an unrequited torch for him for three years, he teased and bantered, kissing her far more ardently than the censors would pass, thus requiring more retakes. Flynn's habits provoked constant arguments between himself, director Michael Curtiz, and studio chief Jack Warner, who wanted to fire him but was tied by contract--fortunately, for the film became a minor classic."
Whether or not you're familiar with this particular "Robin Hood," you'll find everything here you always remembered about the legend: Robin's fight with Little John, Friar Tuck's rotund rascality, the rescue from the gallows, the romance, the swordplay, even the famous splitting of the arrow, a feat reputedly done with almost no special effects. "The Adventures of Robin Hood" is, indeed, the quintessential movie swashbuckler.
Video:
Several years before this HD-DVD release, Warner Bros. had fully restored the film, eliminating age marks, scratches, lines, spots, and flecks, correcting the color, and issuing the results in a two-disc Special-Edition set. The 1938 movie was among the earliest to use three-strip Technicolor, and thanks to WB's restoration the image looked almost as good in SD as it probably did when it was new. I thought the colors were a little bright, but they were still fairly natural and realistic. My only serious concern about the standard-definition transfer was a somewhat soft object delineation and a small degree of grain in darker scenes and against wide, flat backdrops.
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[release]19878[/release]