THE DEATH OF ROBIN HOOD Reviewed by GREG KING
Director: Michael Sarnoski
Stars: Hugh Jackman, Jodie Comer, Murray Bartlett, Bill Skarsgard, Faith Delaney, Noah Jupe.
The fictional Robin Hood was a famous outlaw who, in the thirteenth century, “robbed from the rich and gave to the poor” and whose exploits have been depicted in ballads, film and television. There have been twenty feature films featuring the legendary hero, several television series and tv movies.
Errol Flynn brought swagger and swashbuckling panache to his performance in 1938’s The Adventures Of Robin Hood. Richard Greene was heroic in the title role of the British tv series that aired from 1955-59. In 1973 there was an animated musical version from Disney with Robin and his merry men portrayed by anthropomorphic animals. In 1973 Sean Connery played an aging Robin at the end of his life in Richard Lester’s romantic drama Robin And Marian. Kevin Costner took on the role in 1991’s Robin Hood: Prince Of Thieves, which was made enjoyable thanks largely to Alan Rickman’s over the top and scenery chewing performance as the Sheriff of Nottingham. And in 1993 Mel Brooks parodied the mythology and lore of the character in his comedy Men In Tights.
But his adventures have always been a lot more fun than what is offered in this bleak, dour drama from Michael Sarnoski (Pig, A Quiet Place: Day One, etc). In the revisionist The Death Of Robin Hood Sarnoski subverts the familiar mythology and lore surrounding the legendary figure and here he is depicted as less than a heroic or noble champion of justice. Sarnoski explores themes of guilt, redemption, forgiveness, the truth behind legends, mythology, the legacy of the past, the loss of innocence and the impact of violence.
Rather than the noble and heroic outlaw and defender of the weak and oppressed as usually depicted, here Robin (played by Hugh Jackman) is a bitter man, a vicious killer who, by his own admission, has killed more people than he can count. But he is haunted by the violent actions of his past. After being badly wounded during a violent confrontation his longtime and loyal ally Little John (Bill Skarsgard) takes him to the priory of St Clement on a remote island. There he is nursed back to health by Sister Brigid (Jodie Comer, from the tv spy thriller Killing Eve, etc).
While recovering though Robin finds a chance for redemption for his dark and violent past by becoming something of a surrogate father figure to Margaret (Faith Delaney), an orphaned girl. He teaches her some hunting skills and also teaches her how to make her own bow and arrow. He also turns Arthur (Noah Jupe) away from a course of revenge and retribution. He also befriends a leper (Australian actor Murray Bartlett, from tv series The White Lotus, etc).
The Death Of Robin Hood is a relentlessly bleak and dour affair, especially in the first half of the film which is grim and hyperviolent. These scenes are visually ugly as they are shot in a primarily dull palette by Sarnoski’s regular cinematographer Pat Scola who use natural lighting. However, as Robin finds his path to peace the lighting and visual become brighter and the lighting much warmer. Scola also works in closeup for much of the time.
Jackman has a suitably weathered and grizzled appearance here and he is almost unrecognisable under a full and bushy beard and long, messy grey hair and dressed in animal skins. However, he effectively conveys the range of emotions and regrets that his brooding and tortured Robin experiences. He delivers his dialogue in gruff fashion. In some ways the trajectory of his aged Robin is similar to that of his Wolverine in James Mangold’s Logan, which was a far superior film. Comer brings a warmth and empathetic quality to her performance.
Scola and Sarnoski have shot the film on location in Ireland, and the sparse, windswept and harsh landscapes also add to the overall bleak tone of the material. The film’s grim visuals give the material a touch of foreboding. David Lee’s production design, especially for the priory, is stark and minimalist. Much of the violence is quite brutal and confronting. Sarnoski’s direction is unhurried and the deliberately slow pacing may be a turnoff for many.
★★☆
