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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. 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. Are we to believe that the most wanted men in the kingdom could disguise themselves simply by pulling their hats low over their faces? And there are moments a little too obvious, as when Robin takes Marion to a part of Sherwood Forest occupied by some of the Saxons he has helped, and they skulk about like an engraving of tired and huddled masses, rousing themselves to express gratitude to him. We knew that Robin Hood took from the rich to give to the poor, but we didn't know he ran his own refugee camp. There are also moments of bravado, as when an arrow extinguishes a candle on its way to killing a Norman. And when Robin's arrow splits his opponent's in the archery tourney. And the great sword fight between Robin and Sir Guy that cuts between the men and their shadows. And Technicolor is never more glorious than in the big outdoor scenes of pageantry, such as the assembling of the court for the tournament. The intimate scenes have a directness that is almost bold. When Robin and Marian look in each other's eyes and confess their love, they do it without edge, without spin, without arch poetry. The movie knows when to be simple. And it is the bond between Robin and Marian, after all, that stands at the heart of the movie. The ideal hero must do good, defeat evil, have a good time and win the girl. Roger Ebert was the film critic of the Chicago Sun-Times from until his death in In , he won the Pulitzer Prize for distinguished criticism. Reviews The Adventures of Robin Hood. Roger Ebert August 17, Errol Flynn, Technicolor adventurer. See the full gallery. Title: The Adventures of Robin Hood Sir Robin of Locksley, defender of downtrodden Saxons, runs afoul of Norman authority and is forced to turn outlaw. With his band of Merry Men, he robs from the rich, gives to the poor and still has time to woo the lovely Maid Marian, and foil the cruel Sir Guy of Gisbourne, and keep the nefarious Prince John off the throne. I recently had the chance to see it in the cinema for the first time, with the release of the remastered print, and wondered if it could possibly hold up to televised childhood memories. The joyous answer is that indeed it does. It's not only the breathtaking adventure I remembered; it's a fiery and surprisingly gentle romance that isn't afraid of laughs. It's unthinkable, once you've seen it, to imagine this film with anyone other than Errol Flynn. Every subsequent interpreter has had to struggle to reclaim the part from the memory of his roguery and grace - and most modern 'Robin's have been handicapped by an insistence on authentic mediaeval murk and grime. In the s, with Technicolour the latest craze, mud and homespun were the last thing a studio wanted. Flynn's Robin Hood sports the Lincoln green of legend and a forest as brightly coloured as a painted backdrop, and the rich furs and silks on show at Nottingham Castle are straight out of fairy-tale; or an illuminated manuscript. The story itself is purest escapist magic. Greedy barons, a wicked usurper, a rightful king in exile, and a proud beauty in distress The script sparkles. And the stunts, in those days before wire-fu or CGI, are all for real and still take the breath away. Flynn was in superb physical condition at the time - co-star Basil Rathbone, who played his proud opponent and would-be suitor to Marian's hand, Guy of Gisbourne, described him simply as 'a perfect male animal' - and misses no opportunity to show off his flamboyance. Unlike today's pretty-boy heroes, however, Flynn shows a surprising talent for acting with his face alone. The expressive reaction shots throughout his boudoir scene with Marian tell a different tale to the quickfire banter of his words, and, like Marian, despite ourselves we are drawn in. Olivia de Havilland, as Marian, is somewhat ill-served by her period costume - she is at her most beautiful in this scene, without her hair confined in her wimple - but together they duel their way through a classic tempestuous romance of the high-born lady and the outlaw, ultimately risking their lives to save each other. Marian is no anachronistic action heroine, but no-one, not even Robin, can keep her from what she thinks is right. As Guy of Gisbourne, Basil Rathbone is also playing one of the landmark roles of his career, and gives a superb performance. His Gisbourne is no cardboard villain, but a clever, arrogant man, who matches wits and blades with Robin as a worthy rival, and whose courtship of Marian is not without grace. And his wily master, rufous Plantagenet Prince John Claude Rains, in a small but well-cast part is no fool either. He knows precisely what he wants and what he can get away with, wasting no time in bluster or empty threats. Comedy of a broader nature is provided by the cowardly Sheriff of Nottingham, and by Bess, Marian's maid. But even Bess's farcical courtship with timid Much she has buried more husbands than he has had kisses is not without its tender moments, and perhaps only the Sheriff is entirely a cut-out figure of fun. Few people can whistle 'the theme from Robin Hood'. But the famous Korngold score, with its full orchestral depth and rousing fanfares, is as familiar today as it was seventy years ago, when it won its Academy Award. Looking for some great streaming picks? Check out some of the IMDb editors' favorites movies and shows to round out your Watchlist. 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. Plot Summary. Plot Keywords. Parents Guide. External Sites. User Reviews. User Ratings. External Reviews. Metacritic Reviews. Photo Gallery. Trailers and Videos. Crazy Credits. Alternate Versions. Rate This. When Prince John and the Norman Lords begin oppressing the Saxon masses in King Richard's absence, a Saxon lord fights back as the outlaw leader of a rebel guerrilla army. Directors: Michael Curtiz , William Keighley. Miller original screenplay: based upon ancient Robin Hood legends. Historic origins of the real Robin Hood

Richard assures Robin that he is traveling on the King's business; when asked if he supports Richard, the incognito King replies, "I love no man better. Robin orders a thorough search to find Richard and bring him to Robin for safety. Now certain of their loyalty, Richard reveals his identity. Robin devises a plan to sneak into Nottingham Castle. He coerces the Bishop of the Black Canons to include his men, disguised as monks, in his entourage for John's coronation. In the great hall, Richard reveals himself to the assembled nobles, and a huge melee breaks out. Robin and Sir Guy engage in a prolonged sword fight, ending with Gisbourne's death. Robin releases Marian from her prison cell, and Prince John's men, now defeated, throw down their swords, shields, and banners in surrender. Richard exiles John and his followers for his lifetime and pardons the outlaws. With Marian now by his side, from across the great hall, Robin replies with enthusiasm, "May I obey all your commands with equal pleasure, Sire! Location work for The Adventures of Robin Hood included Bidwell Park in Chico, California , which substituted for Sherwood Forest , [12] although one major scene was filmed at the California locations "Lake Sherwood" and "Sherwood Forest", so named because they were the location sites for the earlier Douglas Fairbanks production of Robin Hood Several scenes were shot at the Warner Bros. Burbank Studios and the Warner Ranch in Calabasas. Hill, although listed as the archer captain defeated by Robin, was cast as Elwen the Welshman, an archer seen shooting at Robin in his escape from Nottingham castle and, later, defeated by Robin at the archery tournament. To win, Robin splits the arrow of Philip of Arras, a captain of the guard under Gisbourne, who had struck the bullseye. Stuntman Buster Wiles, close friend of Errol Flynn and his frequent on-set stand-in, maintained that the arrow-splitting stunt was carried out using an extra large arrow for the target and that the second arrow had a wide, flat arrowhead and was fired along a wire. An Olympic-grade archer was unable to fully split a straight-grained cedar arrow from about 50 feet the arrow only split along a third of its length , but split a hollow bamboo arrow from nock to arrowhead. This tends to support Wiles' statement. Hill can also be seen as one of the Merry Men in the scene where Robin is rescued from the gallows. Concealed in a wagon, he shoots a mounted man-at-arms, whose horse is instantly mounted by the bound Robin Hood and ridden to the city gate. In , Korngold was conducting opera in Austria when he was asked by Warner Bros. The film is considered the finest of its kind, with a continuous series of romantic and adventurous sequences propelled by Korngold's dynamic score. MacDonald notes that there were many factors which made the film a success, including its cast, its Technicolor photography, and fast- paced direction by Michael Curtiz , but "most of all, there is Korngold's glorious music". Korngold's score was a splendid added dimension. His style for the Flynn swashbucklers resembled that of the creators of late nineteenth-century and early twentieth-century German symphonic tone poems. It incorporated chromatic harmonies, lush instrumental effects, passionate climaxes—all performed in a generally romantic manner. Korngold's original and distinctive style was influenced by the Wagnerian leitmotif , the orchestral virtuosity of Richard Strauss, the delicacy and broad melodic sweep of Puccini , and the long-line development of Gustav Mahler. In reply to Warner Bros. Before Korngold began composing the score, Austria was annexed by the Nazis , and his home in Vienna was confiscated. He later said, "We thought of ourselves as Viennese; Hitler made us Jewish". It also gave him his second Academy Award for Best Original Score and established the symphonic style that would later be used in action films during Hollywood's Golden Age. Contemporary reviews were highly positive. Nugent of The New York Times. The duel in the closing scenes between the hero and his arch enemy is the most exciting ever filmed". The film is among their list of the best-rated films in cinema. Warner Bros. A sequel, Sir Robin of Locksley was announced but never developed. The film won three Academy Awards at the 11th Academy Awards and was nominated for one more:. The film's popularity inextricably linked Errol Flynn's name and image with that of Robin Hood in the public eye, even more so than those of Douglas Fairbanks , who had played the role in Scenes and costumes worn by the characters have been imitated and spoofed endlessly. Basil Rathbone even appears as the villain and has a climactic sword fight with Kaye. A fragment of one of the film's sword fighting scenes was converted to sprites by Jordan Mechner and used for his platform game Prince of Persia. However, the famous climactic duel between Robin and Sir Guy is reduced to only a couple of panels, with Robin still dressed in his earlier monk's habit. The strip opens with a joust between Robin and Sir Guy, a scene which was in the original screenplay but was never actually filmed. From Wikipedia, the free encyclopedia. This article is about the film. For other uses, see The Adventures of Robin Hood disambiguation. Theatrical release poster. Michael Curtiz William Keighley. Hal B. Wallis Henry Blanke. Norman Reilly Raine Seton I. Miller Rowland Leigh. Erich Wolfgang Korngold. Tony Gaudio Sol Polito W. Release date. Running time. This section needs expansion. You can help by adding to it. November This eventually made Trigger one of the most famous animals in show business. Retrieved 19 April Petersburg Times. December 28, Retrieved July 22, Library of Congress, Washington, D. Retrieved Character-Based Series Part I. Retrieved March 11, Harnessing the Technicolor Rainbow: Color Design in the s. He was improbably handsome, but that wasn't really the point: What made him a star was his lighthearted exuberance, the good cheer with which he embodies a role like Robin Hood. When George C. Scott was asked what he looked for in an actor, he mentioned "joy of performance," and Flynn embodies that with a careless rapture. Watch his swagger as he enters John's banquet hall and throws a deer down before the prince, full knowing that the punishment for poaching a deer is death. 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. Are we to believe that the most wanted men in the kingdom could disguise themselves simply by pulling their hats low over their faces? And there are moments a little too obvious, as when Robin takes Marion to a part of Sherwood Forest occupied by some of the Saxons he has helped, and they skulk about like an engraving of tired and huddled masses, rousing themselves to express gratitude to him. We knew that Robin Hood took from the rich to give to the poor, but we didn't know he ran his own refugee camp. There are also moments of bravado, as when an arrow extinguishes a candle on its way to killing a Norman. And when Robin's arrow splits his opponent's in the archery tourney. And the great sword fight between Robin and Sir Guy that cuts between the men and their shadows.

The Adventures of Robin Hood (TV series) - Wikipedia

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. Are we to believe that the most wanted men in the kingdom could disguise themselves simply by pulling their hats low over their faces? And there are moments a little too obvious, as when Robin takes Marion to a part of Sherwood Forest occupied by some of the Saxons he has helped, and they skulk about like an engraving of tired and huddled masses, rousing themselves to express gratitude to him. We knew that Robin Hood took from the rich to give to the poor, but we didn't know he ran his own refugee camp. There are also moments of bravado, as when an arrow extinguishes a candle on its way to killing a Norman. And when Robin's arrow splits his opponent's in the archery tourney. And the great sword fight between Robin and Sir Guy that cuts between the men and their shadows. And Technicolor is never more glorious than in the big outdoor scenes of pageantry, such as the assembling of the court for the tournament. The intimate scenes have a directness that is almost bold. When Robin and Marian look in each other's eyes and confess their love, they do it without edge, without spin, without arch poetry. The movie knows when to be simple. And it is the bond between Robin and Marian, after all, that stands at the heart of the movie. The ideal hero must do good, defeat evil, have a good time and win the girl. Roger Ebert was the film critic of the Chicago Sun-Times from until his death in External Sites. User Reviews. User Ratings. External Reviews. Metacritic Reviews. Photo Gallery. Trailers and Videos. Crazy Credits. Alternate Versions. Rate This. Episode Guide. Available on Amazon. Added to Watchlist. Top-Rated Episodes S3. Error: please try again. The Evolution of Armie Hammer. Best of Series: Top 25 Adventure. Favorite TV series that has "Adventures of" in the title. Use the HTML below. You must be a registered user to use the IMDb rating plugin. Episodes Seasons. Nominated for 1 Primetime Emmy. Edit Cast Series cast summary: Richard Greene Little John episodes, Alexander Gauge Edit Did You Know? Trivia This is the earliest Robin Hood series to be in existence in its entirety. The earlier series, which featured Patrick Troughton as Robin, no longer exists. Was this review helpful to you? Yes No Report this. Add the first question. Edit Details Country: UK. Language: English. Runtime: 30 min episodes. Color: Black and White. Edit page. Add episode. October Streaming Picks.

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