Quoting generously from my longish Robin Hood review, Carl Olsen of Ignatius Insight Scoop adds:
Once again a peasant hero reminds us that no man is a knight or peasant but thinking makes him so, and a blacksmith or a stonemason can, and in all likelihood will, shape the destiny of nations. Would you be astonished to learn that there is a proto-feminist heroine who dons armor for the climactic battle? That not only is Richard the Lionheart’s brother John a degenerate, perfidious schemer, Richard himself (briefly seen at the end of Kingdom of Heaven at the outset of his crusade) is a cruel and venal marauder, as bereft of honor as of funds?
The last really solid Hollywood take on the traditional Robin Hood mythos (not counting the Kevin Costner folly, because, well, it doesn’t count) was over 70 years ago, and is essentially the only one in its class (unless you want to go back to the silent era). A revisionist take on Robin Hood would be one thing if the traditionally heroic Robin Hood could be taken for granted as a cultural reference point. What have we come to if we can only view a legendary icon like Robin Hood through skeptical, revisionist lenses?
Director Richard Thorpe and star Robert Taylor would re-team the following year for the Arthurian epic Knights of the Round Table, but that film is a pale imitation of Ivanhoe, which boasts better spectacle and action (highlights include the opening tournament, the rousing seige sequence that is the film’s centerpiece, and a gripping climactic duel scored by ominous drums), a more interesting romantic triangle, and better villains scheming to usurp the king’s throne.
The best version is the 1982 TV movie starring Anthony Andrews (“A.D.”) as Ivanhoe, Olivia Hussey and James Mason (“Jesus of Nazareth”’s Virgin Mary and Joseph of Arimathea) as the Jewess Rebecca and her father Isaac of York, and Sam Neill (Jurassic Park), John Rhys-Davies (The Lord of the Rings), and Stuart Wilson (The Mask of Zorro) as villainous Norman knights.
Loosely based upon a story by children’s author William Steig (Sylvester and the Magic Pebble), Shrek is a satiric, updated fairy-tale love story, sort of like The Princess Bride, if André the Giant had been the hero, and had worn Lou Ferrigno body paint. And if Princess Buttercup did Matrix-style wire-fu and knocked out bad guys.
Not only does it terrifically succeed where movies like Mel Brooks’ Robin Hood: Men in Tights miserably fail, The Court Jester also as merry, high-spirited, and wholesome as the adventures it parodies, with none of the cynical, anarchic spirit (or content issues) of the likes of Monty Python and the Holy Grail.
Oo-de-lally! As post-Sleeping Beauty Disney animated features go, Robin Hood is a fine entry, better than The Sword in the Stone or The Fox and the Hound but not as good as The Jungle Book or The Many Adventures of Winnie the Pooh.
The story is the classic Robin Hood tale, and it’s all here: the fateful shooting of the King’s deer; Robin’s ignominious duckings upon his first meetings with Little John (Alan Hale) and Friar Tuck (Eugene Pallette); Robin’s penchant for entertaining wealthy victims in high Sherwood style before relieving them of their gold; the trap archery contest which a disguised Robin wins by splitting his opponent’s arrow; the return of Richard (Ian Hunter) from the Crusades disguised in monk’s attire.
Silent action king Douglas Fairbanks Sr. is the most exuberantly athletic of Robin Hoods, for sheer physicality perhaps outdoing even Errol Flynn’s definitive performance.
Copyright © 2000– Steven D. Greydanus. All rights reserved.