The Death of Robin Hood: A Dark, Gritty Tale of a Folk Hero's Final Days
In a world where the gap between the ultra-rich and the rest of us continues to widen, it's tempting to romanticize the past. The legend of Robin Hood, a folk hero who stole from the rich to give to the poor, has long been a symbol of rebellion and justice. But what happens when we take this iconic figure and strip away the romanticized version? That's the question posed by writer-director Michael Sarnoski in his film, The Death of Robin Hood.
The film follows Robin Hood, played by a dour Hugh Jackman, as he grapples with his past and the consequences of his actions. With a mostly acceptable, if somewhat undefined, 'northern' accent, Jackman embodies the grizzled, weathered version of the character we've come to know and love. But this Robin Hood is far from the heroic figure of folklore. He's an outlaw, running from the authorities and the aggrieved fathers and brothers who want to avenge what he took from them.
The film opens with a jolting scene, as Robin is discovered in the wilderness by a drifter, played by the consistently transfixing Welsh actor Jade Croot. This encounter sets the tone for the rest of the film, as we witness Robin's journey from the wilderness to a remote priory, where he is nursed back to health by the prioress, Brigid, played by the luminous Jodie Comer. But this is no ordinary nurse; Brigid is a character shrouded in mystery, and her relationship with Robin is complex and ambiguous.
One of the most intriguing aspects of the film is the way it explores the idea of identity. Robin, who has been known as a hero, is now an outlaw, and his past is a source of conflict. As he grapples with his identity, we are forced to question our own notions of heroism and morality. What makes this particularly fascinating is the way the film challenges our expectations. We expect Robin to be a hero, but as the film progresses, we see a different side to him, one that is flawed and complex.
The film's pacing is a bit of a mixed bag. While the opening scenes are effectively jolting, the rest of the film tends to drag. The switch to a meditative character drama is a conceptually interesting choice, but it feels a bit forced in practice. We're left with too much unsaid, and too little felt, which creates a sense of remove from the story's center. The film's ending, in particular, feels rushed, with decisions and reveals not explored enough to land in the way that's clearly intended.
Despite these shortcomings, The Death of Robin Hood is a film with impressive craft. Sarnoski, a skilled transporter, makes the most of the natural sounds and textures of the setting, using Belfast and the surrounding areas to stand in for Cumbria. He has proven himself to be a thoughtful filmmaker, finding real humanity in both a Nicolas Cage movie (Pig) and a Quiet Place sequel (A Quiet Place: Day One). But he's yet to elevate good to great, and the film's uncertain tone, stuck somewhere between epic and chamberpiece, makes it another valiant, if ultimately unsuccessful, attempt.
In conclusion, The Death of Robin Hood is a dark, gritty tale of a folk hero's final days. It challenges our expectations and explores complex themes of identity and morality. While it may not be a perfect film, it's a thought-provoking and engaging watch, and it's sure to spark discussion and debate among viewers.
