The Adventures of Robin Hood (1938): Film Analysis

Introduction: Robin Hood as Populist Hero

The legend of Robin Hood is a compelling one that translates well on the silver screen. Errol Flynn plays Robin Hood in the 1938 version of The Adventures of Robin Hood, directed by Michael Curtiz and William Keighley. The legend includes themes such as social justice, the rule of law, and the triumph of the underdog over the prevailing forces of power. In this film, Robin Hood and his band of merry men successfully thwart the nefarious brother of King Richard the Lionheart. Prince John usurps power after Richard the Lionheart is taken captive by Leopold of Austria. Robin Hood is a charismatic rebel leader who champions the rights of the poor and disenfranchised citizens of England.

Michael Curtiz and William Keighley depict Robin Hood sympathetically. The audience's trust in Robin Hood never wavers because of his charm and righteousness. By devoting a large portion of the film to Prince John and his scheming sidekick Sir Guy of Gisbourne (Basil Rathbone), the filmmakers fully develop Robin Hood's motivation. Thus, Robin Hood becomes far more than his oversimplified persona as someone who stole from the rich to give to the poor. The Adventures of Robin Hood depicts the legend as a populist revolt against an unjust and tyrannical government, rather than as a massive wealth redistribution program.

Scenes showing Prince John and Sir Guy of Gisbourne are therefore among the most effective at generating sympathy for the film's hero. Claude Rains was aptly cast as the creepy Prince John, whose visage and voice contribute to the audience's complete mistrust of the film's main antagonist. The directors also use costumes to full advantage, allowing the audience to easily and instantly distinguish between peasants and the king's henchmen.

Other scenes integral to plot development are those that show how the band of merry men came to follow Robin Hood. The directors illustrate the people's support for Robin Hood explicitly in some scenes — such as when Maid Marian walks through Sherwood Forest with Robin Hood and several peasants speak their gratitude as he passes. In other scenes, the directors choose to depict the people's movement more indirectly, as an entirely grassroots phenomenon.

Cinematic Elements and Thematic Purpose

The separate elements of the film all relate to and reinforce the theme, central purpose, and overall effect of The Adventures of Robin Hood. Costumes are important because the film is a period piece, but also because the audience needs to quickly identify good characters from bad ones. Setting is equally important in creating the mood of the film.

What the directors accomplish with these separate elements is a kind of cinematic treatise on feudalism and English history. They send a strong message against tyrannical rule without having Robin Hood so bold as to want to seize power for selfish purposes. By showing Robin Hood as loyal to Richard the Lionheart, the directors underscore the difference between a self-motivated, corrupt rebel leader and one who sincerely has the best interests of the people at heart. Robin Hood comes from a noble family background yet has elected to live a life of poverty and danger, which further proves his sincerity. The directors also include a romance between Robin Hood and Maid Marian, adding an extra element of suspense at certain points in the film and lending greater depth to the plot and its main characters.

Michael Curtiz and William Keighley also keep the tone of The Adventures of Robin Hood lighthearted. By adding ample comic relief, the directors avoid bogging down the film unnecessarily, retaining the story's status as an entertaining legend rather than presenting it as historical fact. Comic relief also enhances the swashbuckling sequences, making the many sword fights and chase scenes fun as well as exciting.

Narrative Structure and Pacing

The narrative flows chronologically, with many scenes depicting simultaneous action. For example, the directors frequently cut back and forth between Prince John in the castle and Robin Hood in Sherwood Forest. No flashbacks, dream sequences, or flash-forwards are included. The passage of time is hinted at subtly in dialogue, such as when Prince John mentions the "years" that have passed since King Richard was taken hostage. The overall narrative structure is traditional, with a long build-up, a late climax, and a denouement.

Acting Performances

Acting in The Adventures of Robin Hood is excellent, although most characters do not significantly develop over the course of the film. Only Maid Marian undergoes meaningful change. Characters like Robin Hood, Prince John, and Sir Guy of Gisbourne remain essentially static. Nevertheless, Flynn fills the role extremely well through facial expressions and body language. His smile underscores Robin Hood's charisma, and his agile movements convey the character's formidable fighting skills. When Robin Hood is captured and sentenced to death, Flynn's facial expressions do impart genuine fear onto the character's otherwise mischievous face. Another especially effective scene for Flynn is the archery tournament, a major turning point in the film. Robin Hood arrives in disguise and, out of his characteristic green suit, looks like an ordinary man — his facial expressions shift accordingly.

Claude Rains also delivers a striking performance, conveying menace more through facial expressions and tone of voice than through broad emotion. Olivia de Havilland's portrayal of Maid Marian represents one of the film's few instances of genuine character transformation. Her evolution from a snobbish, demure lady of the court into a Robin Hood sympathizer is rendered effectively through subtle changes in her face and bearing. She becomes noticeably more relaxed and begins to smile in a way she had not in her early scenes. The directors reinforce this change visually by having her let down her hair, which is long and braided rather than pinned beneath a prim bonnet.