Epic in Essex… Robin Hood (1922), Saffron Hall, BBC Symphony Orchestra

"Robin Hood should be made lavishly or not at all…” Douglas Fairbanks

Robin is in the heart of Prince John’s castle, he’s up against dozens of soldiers in a huge fortress with impenetrable walls, chased up stairways and surrounded on all sides by the solid steel: the cold-stone certainty of death. The situation looks hopeless and yet he’s laughing, bouncing towards danger and improvising joyful escape… this, I should imagine, is pretty much how Neil Brand felt when composing his new score.

You are almost floating on a cloud of sound in the intense confines of Saffron Hall, as purpose-built acoustics allow the full-force of the BBC Symphony Orchestra to blast forth. I’ve seen many loud rock gigs but this is the most elegant noise: precision volume… you are aware of all the players with Timothy Brock pulling forth the different sections like Thor controlling the weather. Blasts from the brass and agitation from the strings, lightened by the woodwind and relieved by percussion. Waves of sonic satisfaction with music that fills the huge spaces of Fairbanks and Allan Dwan’s film whilst moving in perfect sympathy with Robin and Marion’s romance, Prince John’s evil schemes, King Richard’s noble course, the merry men… and, don’t worry Sir Guy of Gisbourne, Mr Brand has your back…

Douglas Fairbanks or is it Neil Brand?

Robin Hood is a mighty film, from the unsurpassed dynamism of its producer, writer and lead to sets designed to induce shock and awe. Mr Brand’s lionhearted score matches the action and emotion step for pirouetting step. It is a powerful work and full of joy – a celebration, not just of this film but of the art of scoring itself; a sequel of sorts to Neil’s series on the subject.

I’d previously seen Robin Hood at London’s Cadogan Hall with John Scott conducting the Royal Philharmonic Orchestra playing his own score. That was a special evening but I have to say that the epic played better in Essex, lifting the spirits with all the agility of Fairbanks himself.

Big cast and even bigger set

It’s hard to believe that Dwan had to work hard on his star to make the film; he just didn’t see Robin as cinematic enough but, after interesting Doug in archery, the idea of incorporating Richard’s crusades hooked him in. “The robust, heroic figure of Richard… stirred me at once. The period contained every dramatic element: a strong religious impulse, a kingdom undermined by treachery… fair maidens won by valour… all the colour of the adventurous Middle Ages…” purred Fairbanks (according to Robert E. Sherwood in The Best Moving Pictures of 1922-23). It’s not my period, but this is, of course, the Twelfth Century as viewed through Hollywood’s rose-tinted time-telescope.

The film’s centrepiece was Richard’s massive castle, the largest physical set of the silent era even bigger than Intolerance’s Babylon. Fairbank’s biographer Tracey Goessel reports that one million feet of lumber were used along with thirty tons of nails and twenty thousand yards of “heavy velvets”.

Our baddies: Guy and John

The story goes, as told by Dwan to Brownlow in The Parade…, that Fairbanks, doubting even he could fill these gigantic spaces, considered cancelling the project upon seeing the almost completed set. This seems unlikely given Fairbanks’ intentions for the film and his reported reaction to first the set from French director Robert Florey: Doug had already worked out the new stunts he was going to perform against this backdrop he knew it would make his movement all the more dramatic.

As The Film Daily critic wrote, “Douglas Fairbanks in Robin Hood out-spectacles all that we have seen before on the screen...” and it is precisely his juxtaposition of relentless kinetics against overwhelming scale that makes this proto-blockbuster complete. Well, that and the thousands of extras – in knitted hemp “chainmail” – on horseback or in Lincoln Green.

And the part of Wallace Beery is played by Richard I...

There is also the monumental presence of Wallace Beery as King Richard who plays a far greater part in this tale than later versions. Beery’s energy magnifies Fairbank’s own and the two dominate from the opening pageantry onwards.

The film features a good hour of set-up before the first arrow is set loose from Robin’s bow. At this point, the future outlaw is the noble Earl of Huntingdon, right-hand man to the King and therefore the man in the way for the wicked King John (Sam De Grasse on top form, with evil beard and unforgiving fringe) and his henchman Sir Guy of Gisbourne (Paul Dickey).

Robin and Marian

Huntington’s a fighter not a lover but soon changes his mind when he encounters Lady Marian Fitzwalter (Enid Bennett) who is also attracting the attention of the dark Prince and his loathsome pal, Guy. It feels like the film is deliberately marking time before the fireworks start but the score brings out the most form this sequence with some splendid romantic lines as Robin and Marian fall in love.

Richard and Huntington head off for the Holy Land leaving a Squire (Alan Hale) to look after Marian but the country at large is completely at the mercy of Prince John and the bodies are soon hanging from the battlements, maidens are being whipped and peasants tortured as The High Sheriff of Nottingham (William Lowery) enforces his master’s presidential orders…

It’s only a matter of time before Robin makes his return and the real story can begin but first he must overcome the connivances of Gisbourne…

The Merry Men

A year passes and the fun begins with Friar Tuck (Willard Louis), Will Scarlet (Bud Geary), Alan-a-Dale (Lloyd Talman) and Little John (Mr Hale) all in place: the men make merry and conduct a resistance in King Richard’s name, robbing from the rich and giving to the poor…

In many ways, Robin Hood is a superhero film; an individual changing the course of events through physical prowess and mental strength. Its appeal is universal and enduring not because of historical truth but because we all need to believe that good will eventually triumph in the end.

Tonight its glorious monochrome was amplified by a super-powered score to renew our faith in heroes once again.

Robin Hood is available on DVD from Kino but this score deserves a release on its own. Here’s hoping…

Douglas Fairbanks in… Robin Hood (1922), Royal Philharmonic Orchestra, Cadogan Hall, London

Smiling Through (covered last week) may have been one of the biggest hits of 1922 but this film was the monster, pulling in over $2.5 million, creating the “Blockbuster” and underlining the star power of the uniquely energised Douglas Fairbanks.
Robin Hood was shown in the plush Byzantine-style environs of London’s Cadogan Hall with the Royal Philharmonic Orchestra playing a wonderful new score specially composed by John Scott, who also conducted. In his programme notes, Scott describes how in the process of writing the music he developed a very personal intimacy with the actors…” ghosts, that were very much alive at the time and at the pinnacle of their creative powers”.

It is to his immense credit, that this relationship was transmitted through his score; soulful and energetic music that was beautifully played by the RPO – with special mention to the brass section whose muscular blasts drew audience to film in an almost physical way!
All of this was very much in the spirit of Fairbanks and, introducing the film, Scott revealed an even greater connection: the presence of Fairbanks granddaughter, Melissa along with her daughter: “…proof that Fairbanks is immortal.”

Originally entitled Douglas Fairbanks in Robin Hood, the film was directed with panache and considerable bravery considering the budget and the risk, by Allan Dwan, but was produced and written by Fairbanks who no doubt found time to pitch in with the odd idea on how the film should get made.

The result is a bone fide classic which still packs a visceral punch with loads of thrills, spills and merriment against the backdrop of one of the most massive sets ever constructed in Hollywood and it feels like it… You can’t fake “huge” with in-camera trickery the scale is there for all to see and sets the film off on an epic footing from the start: as close to 3D as it was possible to get in 1922.

Douglas Fairbanks, of course, is excellent as Robin Hood, a role that was surely made for him. He bounces around and free-runs across the set, climbing up the castle walls and sliding down the drapery in a manner reminiscent of the Thief of Bagdad. He’s exhausting!

The other elements of acting charm are also fully on show as Fairbanks runs the gamut of emotions as King Richard's loyal Earl of Huntington falls from grace, is dispossessed by Prince John and finally gets redemption with the girl, naturally, thrown in for free.
We all know the story but this version is one of the key templates for all that was to come and differs in emphasis. There’s more on the “origin” with the first half of the film focused on Huntington’s role at court and his friendship with larger-than-life King Richard (“…and the role of Wallace Beery is played by King Richard” quipped Scott, giving due respect to Beery’s own unique presence and power).

The regime is challenged by the dastardly Prince John (Sam De Grasse giving an excellently evil turn) and his thoroughly-repugnant henchman, Sir Guy of Gisbourne (Paul Dickey).
The story begins on a grand day of jousting, in which the noble Huntington (Fairbanks) emerges triumphant (defeating the cheating Gisbourne) much to the chagrin of John but to the delight of Richard and the Lady Marian Fitzwalter (Enid Bennett winsome but somewhat overshadowed by the energy of the other players) who crowns him.

Huntington is very popular with the women of court but, in an inexplicable twist, confesses that he’s frightened of women. This play on our expectations doesn’t last long though and soon Robin (to be) and Marion are an item.

All is interrupted as the King takes Huntington off to the crusades. Prince John takes over and starts to abuse the population causing Marion to go into hiding. She gets a message to Huntington who returns to her aid.

Now the film really picks up pace as Fairbanks is transformed from the loyal knight to the outlaw in green and the anticipated pieces fall into place. The arrows start flying as we’re introduced to the merry men including Little John as played by Alan Hale who was to reprise the role with Errol Flynn and again in the 50s. There’s Friar Tuck and Will Scarlett too and an enormous merry hide-out in Nottingham Forrest that Bruce Wayne would envy...

The High Sheriff of Nottingham (a cowardly William Lowery) is led a merry dance as the band rob from the rich and give to the poor, running rings around the local militia. But the Sheriff kidnaps Marion and captures Robin on his loan rescue mission. Will Robin’s men breach the walls of Nottingham Castle in time and just who is that mysterious knight with the black helmet?

It’s expertly directed with economy and zest by Dwan and is good fun throughout maintaining a slick pace that every blockbuster since has tried to emulate.

The cast is very strong especially Beery who almost steels the show with his strength and humour: you really believe he could be king. But, ultimately, it's Fairbanks’ show – a human dynamo who never stops holding your attention. He is incapable of a still moment, and literally bounds across the set, always in motion and looking for moves that reinforce the characterisation.

It's really no surprise he was the most popular action hero of the day but can you ever imagine a quiet Sunday afternoon at the Pickfair house, Mary doing the crossword and Douglas trimming the hedge?

After rapturous applause, John Scott called over to Melissa Fairbanks and asked her how she though it had gone. She was delighted and was sure grandpa was looking down and smiling. The audience certainly left happy, smiling themselves through the rain-sodden London streets on the way home.

Robin Hood is also available in a clean print, spruced up by Kino - the version I appropriated the above screen shots from: I heartily recommend that you go out and buy it! Forget Flynn, Cosner and Crowe... Douglas Fairbanks is Robin Hood (and Alan Hale is, almost literally, *always* Little John…)!