All too frequently news of a celebrity’s birthday is only seen when the
attached story concerns the drug abuse, legal problems how such a talent was
just a complete waste of a young life’s potential.Several days ago I read a
birthday announcement that was the epitome of positive celebrity news, Olivia de
Havilland just had her 101st birthday. Her career spanned the decades
that encompassed the golden age of film with this incredible actor steadily
working until the respectable age of 72. During the early portion of her career
included several films that defined the swashbuckling genre often along the
actor that defined the modern action hero, Errol Flynn. The first movie that
came to mind when I read about Ms. de Havilland achieving such a milestone was
the 1938 classic action/adventure movie, ‘The Adventures of Robin Hood.' As one
of the popular group of beautiful, rising stars, she helped to set the standard
for a role that would be reinterpreted many time, Maid Marian. In honor of this
great American actress, I decided to re-watch that movie, providing the means
for fresh consideration. This film is one that continues to draw me back
throughout my life. Each time I reexperienced the action, drama, and romance
included in this ageless story with my enthusiasm for cinema as a means of
artistic expression. Despite all the exciting new releases I am anxious to
review, it was a moral imperative take a moment to consider one piece of the
crucial foundation of movies.
‘The Adventures of Robin Hood is a story carried through the centuries as of
the most famous folktales in history. Like most enduring works of literature,
the craftsmanship of the story permitted its appreciation on several, distinct
layers. At the most fundamental it serves as a children’s story of a brave man
that fought against the unfair treatment of commoners by the elite noble class.
Sir Robin of Locksley (Errol Flynn) eschewed the privileges of his rank to live
with a cadre of men in Sherwood forest. From there they would attack the rich as
they traveled through the land relieving them of their extraneous wealth and
redistributing it to the poor. It was a Medieval form of ‘trickle down
economics’ on it most basic and unencumbered means of deployment. This would
open the pathway for a fundamental good versus evil play as the corrupt Sir Guy
of Gisbourne (Basil Rathbone) enforces his draconian edicts upon the peasants
living on his land. This abuse of rank was possible since the true king of
England, Richard the Lionheart (Ian Hunter), had been taken hostage while on a
crusade. That left Richard’s treacherous brother Prince John (Claude Rains),
free to usurp the throne for himself. Noblemen that remained true to the King
were bullied into submission leaving marriable young women such as Lady Marian
Fitzwalter (Olivia DeHavilland), forced to legitimatize the ascension in the
rank of unscrupulous men like Sir Guy.
Seamlessly interwoven in this story was a history lesson of the scandalous
actions undertaken by underlings to the kingdom often pursued while the true
heir to the throne was off fighting or held hostage by the crooked people lower
in the line of rightful succession. It wasn’t necessary to understand the
particulars of the historical elements underlying the principle plot points. The
movie is eminently enjoyable on face value as a swashbuckling thrill ride of
daring feats, exploits found in actions defending truth and justice and brave
men and women who would rather die ibn the pursuit of freedom than exist in the
mire of unjust servitude or death. There is a historically relevant foundation
here that enhances the enjoyment of the movie. Subsequent viewings allow a
deeper understanding of certain aspects of history that give greater depth and
meaning to a movie that fundamentally is enjoyable for the entire family. A
child whose rapt attention is secured firmly by the colorful pageantry and
action that occupies nearly every moment of the movie to the socioeconomic and
political factors that drove the plot forward, the film is simply put
captivatingly exciting from the first frame to the last.
This movie holds up retaining both cinematic and historical importance for a
variety of reasons. Naturally, first and foremost there are the performers.
Controversy has always been an intrinsic aspect of the movie making process, and
this production was not exempt from its share of behind the scenes drama. It was
well known that a considerable amount of animosity (hatred) existed between Mr.
Flynn and one of the credited directors, Michael Curtiz. You can regale yourself
with the details in the trivia section of the movie’s IMDB page, but it sank to
a very nasty level. Was remains notable is that despite this personal lack of
respect both men ultimately deported themselves professionally creating one of
the best examples of the genre ever released by a studio. The direction was
tight, achieving a level of excellence that remains untouched by most of the
movies that followed. It won three artistic achievement Academy Awards that year
and was nominated for Best Motion Picture eventually losing to ‘You Can't Take
It with You:.' In 1995, it was inducted into one of the most lauded lists in the
cinematic arts, The National Film Registry, maintained by the United States
National Film Preservation Board. This includes the film as legally mandated by
Congress establish the films contained on the list as a crucial part of our
heritage and must be preserved for future generations. It is only fitting to
recognize the longevity of the movie’s leading lady by noting that her
performance contributed to one of the country’s finest achievements in film.
It was normal back in that golden era of Hollywood for a single film to boast
a constellation of stars; each would be considered a-List in the modern
vernacular. This was a result of the ‘Studio System,' an arrangement where the
major movie studios placed actors under iron-clad contracts affording them with
practical ownership of the talent. At least some overlap between the interests
of the studios and the burgeoning actors did exist. To make the best possible
use of their ‘property’ the studios would arrange for formal training in comedy,
drama, dance, singing, and for the men skills such as fencing. That was
extremely important considering the types of action sequences in demand at that
juncture. Films including themes such as pirates, dueling aristocrats and any
excuse for fancy swordplay extending over the furniture and traversing
staircases. An exciting example of why this skill was considered such a
lucrative one to possess. A climactic battle ensues between Robin and Sir Guy
that will forever remain one of the most invigorating displays of stage
swordsmanship. Both Basil Rathbone and Errol Flynn were viewed rightfully as the
most skilled practitioners of this energetic and beautifully choreographed art
form. Audience members will receive a thrill unlike anything possible with
computer-generated wonders that dominates the multiplex. A film like this is a
tribute to when movie theaters here palaces of grand décor and elegance. People
would dress to see a film in a fashion like attending a Broadway show. Movies
held a special place in our culture gradually diminished by the advent of
television. Ms. has officially past the century mark she has personally
witnessed the incredible advances in the means of artistic expression she
devoted her life to enhancing.
 | Commentary by Film Historian Rudy Behlmer |
 | Leonard Maltin Hosts Warner Night at the Movies 1938 Featuring Vintage
Newsreel Musical Short Freddie Rich and His Orchestra, Classic Cartoon Katnip
Kollege and Angels with Dirty Faces Theatrical Trailer |
 | 2 In-Depth Documentaries: |
 | ·Welcome to Sherwood: The Story of The Adventures of Robin Hood |
 | ·Glorious Technicolor, Celebrating This Revered Color Filmmaking Process |
 | Outtakes |
 | Robin Hood Through The Ages: Excerpts from the 1912 First Screen
Adaptation, Douglas Fairbanks' Rousing 1922 Silent and This 1938 Version -
Dubbed in German |
 | A Journey to Sherwood Forest: Basil Rathbone and Erich Wolfgang Korngold
Home Movies Shot During Production |
 | 2 Classic Cartoons: Rabbit Hood and Robin Hood Daffy |
 | Splitting the Arrow: Historical Art, Costume Design, Scene Concept
Drawings, Cast & Crew, Publicity & Poster Galleries |
 | 2 Vintage Short Subjects: Cavalcade of Archery and The Cruise of the Zaca |
 | Breakdowns of 1938: Studio Blooper Reel |
 | 3 Audio-Only Bonuses |
 | ·Music-Only Audio Track Showcasing the Film's Oscar®-Winning Score |
 | ·The Robin Hood Radio Show |
 | ·Erich Wolfgang Korngold Piano Sessions |
 | Errol Flynn Trailer Gallery |