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THE ADVENTURES OF ROBIN HOOD PDF, EPUB, EBOOK Dr Roger Lancelyn Green,Arthur Hall,John Boyne | 336 pages | 29 Feb 2016 | Penguin Books Ltd | 9780141329383 | English | London, United Kingdom The Adventures of Robin Hood - Wikipedia Surrounded by his enemies, he fearlessly accuses John of treason against his brother Richard the Lionhearted, and then fights his way out of the castle again. Another actor might have wanted to project a sense of uncertainty, or resolve, or danger; Flynn shows us a Robin Hood so supremely alive that the whole adventure is a lark. Yes, his eyes shift to note that the exit is being barred and guards are readying their swords, but he observes not in fear but in anticipation. This is the scene at which Maid Marian first sees Robin, and we first see her. That Olivia de Havilland was a great beauty goes without saying, but as I watched the new DVD of "The Adventures of Robin Hood," I found myself more than once pausing the film to simply look at de Havilland in closeup, her cheeks rosy in Technicolor, her features fine and resolute. The shift in her feelings about Sir Robin is measured out scene by scene. It is not a sudden transition but a gradual dawning upon her that this is the man she loves, and that she must escape her arranged marriage to Gisbourne. Their love scenes, so simple and direct, made me reflect that modern love scenes in action movies are somehow too realistic; they draw too much on psychology and not enough on romance and fable. It is touching and revealing to see the lovers in middle age in " Robin and Marian " , with Sean Connery and Audrey Hepburn bridging the poignancy of their long separation, but how much more satisfying on an elementary level to see Flynn and de Havilland playing their characters as the instruments of fate; they come together not simply because of love or desire, but because they are so destined. Their union suggests the medieval ideal of chivalric love, in which marriage is a form of God's will. The swashbuckling in the movie is thrilling precisely because it is mostly real. The weakness of modern special effects pictures is that much of the action is obviously impossible, and some of the computer animation defies the laws of gravity and physics. It is no more possible to be thrilled by Spider-Man's actions than by the Road Runner's. It is more exciting to see the real Jackie Chan scampering up a wall than to see the computer-assisted Jackie Chan flying. Stunt men were used in some shots in "The Adventures of Robin Hood. Some stunts are the same in both pictures, as when Robin cuts the rope holding a gate and then rides the rope up as the gate comes down. Others include carefree leaps from ankle-breaking heights, and of course the sword fights. The new Warner's DVD assembles the historians Rudy Behlmer, Paula Sigman, Leonard Maltin, Bob Thomas and Robert Osborne, for a documentary about the making of the film, and from them I learn that it was fencing master Fred Cavens who was primarily responsible for the modern movie swordfight; he believed "it should look like a fight, not like a fencing match," and Flynn, coached by Cavens, hurls himself into the sword scenes with a robust glee. Seeing Flynn in the swordfights, I tried to imagine the studio's first choice, James Cagney, in the role. As Cagney watched this film even he must have conceded that Flynn was perfect for the role. There are moments in "Robin Hood" as playful as a child's game, as when Robin and his men rise to the bait of Prince John's archery tournament. One of the oldest references he found is in a court register from Yorkshire, England. It cites the expropriation of the property of one Robin Hood, described as a fugitive. In , in southern England, there is a similar mention of a man called William Robehod in Berkshire. Because Hunter and other 19th-century historians discovered many different records attached to the name Robin Hood, most scholars came to agree that there was probably no single person in the historical record who inspired the popular stories. Instead, the moniker seems to have become a typical alias used by outlaws in various periods and locations across England. When historical records failed to yield a definitive personage behind the noble outlaw, scholars than turned to the popular culture of medieval England: folklore , poetry, and ballads. These three formats all grew out of an oral tradition. See also: The hellish history of the devil: Satan in the Middle Ages. By the 15th century the Robin Hood legend took on its first trappings of rebellion against the ruling class. It is the only early ballad to be set in Sherwood Forest near Nottingham, and it features Little John, one of the best-known members of the band of Merry Men. In the tale Robin Hood ignores the advice of Little John and leaves the safety of the forest. He travels to Nottingham to attend Mass and pray to the Virgin Mary. At church Robin is recognized by a monk who turns him over to the sheriff. They return to Nottingham and free Robin from prison. The sheriff is humiliated but survives the story, while Robin, Little John, and Much return to the forest with the forgiveness of the king. In this story the monk—not the sheriff or the king—is the true villain. This version of the legend visits extreme violence on the villain, delivered by Little John and Much. Later versions of Robin Hood stories would move away from these deaths that appear as collateral damage, but medieval audiences did not seem overly troubled by them. Medieval crime and punishment often centered around brutality and violence. Kings, lords, and their representatives used it often to punish rebellious peasants. Bodies hanging from the gallows or displayed as a warning at crossroads were familiar sights during this time. These early Robin Hood ballads begin to show a turning of the tables, in which the lower classes are able to punish the upper classes through trickery and violence. In the 15th century more ballads about Robin Hood spread across England. One of the longest, A Gest of Robyn Hode , originates during this time. In these tales Robin belonged to the lower classes and was considered a yeoman. The medieval English ballads use this term to describe a status higher than a peasant but lower than a knight. In the Gest Robin is depicted as a Yeoman of the King who, despite his privileged position, misses the forest and so chooses to abandon the court. Robin Hood takes on a role as an administrator of justice for the underclass in the Gest. This was one my sisters and I never missed when I was a kid. Robin was brave and dashing and Maid Marion was beautiful. The evil Sheriff of Nottingham was a real meany and was well played. I also have a good memory of Friar Tuck and Little John. The theme song is still firmly fixed in my memory, complete with those French horns. Lots of sword fights and daring escapes from the Sheriff's clutches made this a family favourite. I haven't seen any of the episodes since the early 60's but would dearly love to see them again. Looking for something to watch? Choose an adventure below and discover your next favorite movie or TV show. Visit our What to Watch page. Sign In. Keep track of everything you watch; tell your friends. Full Cast and Crew. Release Dates. Official Sites. Company Credits. Technical Specs. Episode List. Plot Summary. Plot Keywords. Parents Guide. External Sites. User Reviews. User Ratings. The Adventures of Robin Hood () - IMDb Their love scenes, so simple and direct, made me reflect that modern love scenes in action movies are somehow too realistic; they draw too much on psychology and not enough on romance and fable. It is touching and revealing to see the lovers in middle age in " Robin and Marian " , with Sean Connery and Audrey Hepburn bridging the poignancy of their long separation, but how much more satisfying on an elementary level to see Flynn and de Havilland playing their characters as the instruments of fate; they come together not simply because of love or desire, but because they are so destined. Their union suggests the medieval ideal of chivalric love, in which marriage is a form of God's will. The swashbuckling in the movie is thrilling precisely because it is mostly real. The weakness of modern special effects pictures is that much of the action is obviously impossible, and some of the computer animation defies the laws of gravity and physics. It is no more possible to be thrilled by Spider-Man's actions than by the Road Runner's. It is more exciting to see the real Jackie Chan scampering up a wall than to see the computer-assisted Jackie Chan flying. Stunt men were used in some shots in "The Adventures of Robin Hood. Some stunts are the same in both pictures, as when Robin cuts the rope holding a gate and then rides the rope up as the gate comes down. Others include carefree leaps from ankle-breaking heights, and of course the sword fights. The new Warner's DVD assembles the historians Rudy Behlmer, Paula Sigman, Leonard Maltin, Bob Thomas and Robert Osborne, for a documentary about the making of the film, and from them I learn that it was fencing master Fred Cavens who was primarily responsible for the modern movie swordfight; he believed "it should look like a fight, not like a fencing match," and Flynn, coached by Cavens, hurls himself into the sword scenes with a robust glee.